by Sam Juliano
The music in Thomas Ades’s opera The Tempest slowly creeps up on you like an increasingly windy night, when you realize before it’s too late that you haven’t dressed properly for the sudden change in weather. It’s first act harmonic dissonances yield to soaring lyrical intensity late in the second act, and after a short prelude to Act III which showcases some of the composer’s most beautiful and atmospheric music, the hectic dramatic machinations of the Bard’s great play are informed by lustrous vocals by a cast of international renown.
In all fairness a listener is treated in the first act to some rhapsodic lyricism, even if the “musical language” here was purposefully discordant as a result of Prospero’s wicked summoning of the storm aimed to ensnare his enemies and to deceive Ferdinand and his shipwrecked court, while Prospero’s daughter Miranda is deeply saddened by her father’s behavior. Ades makes a conscious artistic decision to suggest that the blossoming love of Miranda and Ferdinand surpasses even the power of Prospero. It is through these late passages when forgiveness, reconcilliation and generosity dominate the drama, that Aides and his superb lyricist Meredith Oakes reach the heights of operatic voice interplay where world class tenor Simon Keelyside, soprano Kate Royal and tenor Toby Spence accomplish some powerful voice fusion that conveys the dramatic power of Shakespeare’s stirring character interactions. It would be hard to conceive of anyone not being moved by tracks 10, 11 and 12 on disc 2 of the double-CD set, where the singing and orchestration collaborate to overwhelming effect. Ades understands where he had to let loose, and it may seem to many opera neophytes that he was in a “holding pattern” waiting for the drama to dictate when to land. The ravishing coda may simply be explained as saving the best for last, but it’s the end result of a painstaking compositional plan where discord is conveyed by thorny and jolting music and tenderness and passion are expressed through almost Puccini-esque lyricism.
This game plan shows Ades’s indeptedness to his fellow British composer Benjamin Britten whose harmonic style in his operas was noted for its innovations. From his orchestral work Britten took a broadened sense or melodic variation and harmony, 12-note elements and a heterophonic style of music based on the Indian raga and he was a master of poetic text painting, or the illustration of words in a libretto through music. Britten, the greatest English opera composer since Handel, influenced all who came after, including Ades, who basically takes a traditional approach to the material, even selecting sources that are famous, much like Britten did with Billy Budd, Death and Venice and A Midsummer Night’s Dream, and in part ultilyzing supernatural elements.
Less traditional though is the libretto’s reliance on Oakes’s rhyming couplets which rather severely undercut The Tempest, both contextually and aesthetically. But it’s practically inevitable to envision and accept such an alteration when you are moving from one form to another. Verdi himself had to make compromises, especially with his earlier Macbeth and with Falstaff, and Ambroise Thomas excised even more in his underrated opera of Hamlet. While the emotional kinship of many of its parts are undeniable, the point is that Ades must make some generalizations for the orchestra and the singers. the famed ‘wrong-note’ tonalities that plagued Britten amongst his harshest critics are present on this technically solid CD set, but they have now become part of a dominant style in vocal writing that is distintly direct and minimalist. But Ades moves ahead unpredictably, and while he lamentably opts to have some singers deliver notes on the register’s extreme end which seemingly mitigates against a workable melodic line with some passages, but th eotherwordly sound of the music and the eerie silences do evoke the world suggested by the surreal elements of The Tempest, so largely the approach is successful. The opera’s haunting score has been derided by some of the work’s detractors as allowing ‘almost every vocal utterance be shadowed in the orchestra with lines in rhythmic unison on various instruments.” While Ariel’s affecting passage at the end of scene 5 breaks from this pattern, the truth is it is a post-modernist musical style that has defined not only English opera, but American and world-wide composition.
While Keelyside always manages to inhabit every role he assumes, he makes the cryptic Prospero a character of sweeping ambiguity, and he powerfully stirs the emotions with his booming oratory. The tenor-baritone Ian Bostridge has an imposing voice of doom, perfectly callibrated for the role of Caliban. Kate Royal and Tony Spence provide the work with it’s most ravishing duet, the profession of love between Miranda and Ferdinand. Ariel’s asexuality is transcribed in several lovely moments including the “Five fathoms deep, your father lies’ passage and the great soprano Cyndia Sieden does brilliant work, among the best in the opera. And it’s always a special treat to have the the great Phillip Langridge, a great Britten vocalizer, on board with his memorable short stint here as the King of Naples.
The Tempest certainly contends for the vaunted designation of ‘Greatest English Opera Since Britten.’ Ades is only 39 years old, and the test of time must certainly be employed here in assessing it’s chances for holding the stage, but the recent resurrection last year at Covent Garden was a resounding success, and this present EMI recording of that live performance, conducted by Ades and with Vasko Vassilev guiding the chorus, is a musically colorful and sonically balanced treat that at the very least will serve notice to the music world that opera is still a viable form today.
The most spectacular news of all though is that the Metropolitan Opera have announced that The Tempest will be staged in New York City for a number of performances during the 2011-12 seasons. Mr. Ades could not possibly receive more glorifying validation of his newest work.
Note: ‘Wonders in the Dark’ extends a special thanks to David Carleton of ‘Schwalbe and Partners for sending on the review copy set.
http://www.schwalbeandpartners.com/index.htm
Hi! Sam Juliano,
Sam Juliano said, “Note: ‘Wonders in the Dark’ extends a special thanks to David Carleton of ‘Schwalbe and Partners for sending on the review copy set.”
Wow, that is a very nice “gesture” by David Carleton of ‘Schwalbe and Partners.”
Sam Juliano, your post about the Tempest CD is very interesting and very informative too…
Thanks, for sharing!
DeeDee 😉
And thanks to you Dee Dee for bringing a smile to my face on the morning of this first official day back to school with the students. Yes, David has exquisite taste for sure, and his he brought to my attention here a most essential work with his considerate gesture. As always thanks for the kind words, they are deeply appreciated my excellent friend.
This is a tremendous review Sam. Again, music brings out your strongest amd most passionate work. However, I can’t say that this kind of opera will be to my liking. I don’t mind the Italian composers, and I can tolerate Wagner, but the British guys are more than just an acquired taste. I never cared for Britten at all. Rather torturous to listen to. I’m impressed that you saw so much here that was cause for this extensive enthusiam. Perhaps one day I’ll give this kind of music another go on the car CD player.
Yeah Joe, I’ll admit this kind of music won’t be to everyone’s taste. But with a little patience and commitment, it can yield some pleasurable surprises. I heard this in its entirety last night for the first time, and I was bowled over. Thanks for the kind words as always.
I actually found Britten’s ‘Peter Grimes’ a very moving work. True, the music was not always easy to listen to, yet there was those spellbinding passages. I would have to guess in some ways that Ades can be compared to Glass and Adams, as much as to Britten. Contemporary opera is almost all minimalist. This was your usual commanding review.
Frank, I wouldn’t exactly say that Ades is comparable to Glass or Adams, who are uncompromisingly minimalist. There are some traditionalist musical lines in this work that recall Purcell and even Monteverdi more than anyone else. Thanks very much, and I agree with your high estimation of the shattering PETER GRIMES.
How exciting that this Ades’s work will have a NY run! After reading your cogent review I find myself wanting that recording. I had the chance to see the Santa Fe Opera production in 2005 and thought it unusually powerful. The persuasive complexity of the orchestration and tune rich (for modern opera) lines of lots of the singing were almost as surprising as Ariel’s unearthly passages.
While Ades’s earlier POWDER HER FACE is different in size and style, the originality of the music is striking. The expressionistic film that Margaret Williams made for British television of this chamber opera is available on DVD. Though it is at times obscene and jarring, that film lets you know Ades is a theatrical/musical power to be reckoned with.
Robert you are a peach, and what a continuing honor to have the President of the Topeka Opera Society commenting here at WitD. Astute readers may recall that Robert won the opera DVD contest we conducted here last month in conjunction with the ‘greatest opera films’ post.
But you are an opera reviewer’s dream Robert. How many if any can make claim to having seen the Santa Fe production in 2005, which launched the composer’s conquest of American opera audiences?! I was reading about that production just last night after I finished being ravished by this set, and penning my review. Your exposure to Ades is far greater than mine, as this is the first time I have heard his music. I will be at the Met, the Lord willing, with bells on for that upcoming staging.
I also read about POWDER HER FACE and will be firming up an order for Margaret William’s expressionistic film version. it’s most exciting!
Thanks again for brining such passion, experience and knowledge to the site Robert. We are all so much richer for it.
Sam–
Again you raise the level of descriptive writing and remarkable knowledge to exceeding heights. I never hear of this composer, much less this opera, so I am most interested. If he’s similar to Britten, that is fine with me. But you point to a fine line of divergence here as the word appears to contain some melodic appeal of a different and popular nature. If the Met is doing this, you know a number of people consider it an important work. I’m about to research Ades, but thanks for another eye-opener.
Thanks Peter. Nothing is more wonderful than when you discover a new composer.
………..not something to float my boat, but great to see that love still spilling out. So we’re back in the saddle, eh?………….
Yep Frank, we’re back! I look forward to hear from you here from time to time, as you’re input is much appreciated.
You never seem to exhaust the possibilities with opera. But I can understand why seeing the same works over and over can eventually cause you to desire for new material. English opera is not the kind of thing that I would like to spend time on, and that’s an understatement. hehehe. All joking aside, what beautiful writing. I am always amazed at your skills.
Talk to Lucille about “English opera” Maria. You will find there a comrade-in arms! Thanks!
With me it’s really a matter of not having any exposure to the modern stuff, aside from Phillip Glass. I find some of his music entrancing, and that includes his movie score for ‘The Hours’. I appreciate many of the best arias and some instrumental music from the big titles, but I’m not really yet attuned to the post-modern work.
David, it is challenging material, but I have found it worthwhile to explore new terrain. I like Glass too.
Schmulee, Schmulee, Schmulee. You’re wasting your time teaching. This review show off your true talents. It is, bluntly said, a tremedous essay full of knowledge and passion for the subject of classical music. You write strong essays when you have an affinity to a medium. But, I dare say that you’re always at you’re best when writing about music.
Ha Dennis. I’m 55, and the die has been cast so to speak. It’s true my writing is better when I feel strongly for something, but that’s true of most people. Thanks!
I always like that when Sam writes about music you can always count on three things:
1.) a beautiful, well written and informative piece.
2.) Dennis making a strange pat on the back that somehow reduces the teaching of our youth as a task not deserving our intellectual class, and/or that writing about music can’t be done WHILE one also teaches (as if it’s only an either-or proposition)
3.) a person named ‘Jamie’ pointing out #2 like clockwork. I think I’ve done it three times now.
Carry on.
Touche Jamie.
I’m afraid to admit it, but you are right on the points you make in Number 2 completely. It should never be ‘either or’ and teaching should not be relegated to teh intellectual trash bin.
I’d be very interested in hearing this. Keelyside and Bostridge in particular are phenomenal singers.
Cyndia Sieden is just as formidable Fred. Thank you.
I must say that I was dazzled by the writing. I can see how opera fans would be most impressed. But it’s not something I would voluntarily listen to I’m afraid.
John, I’m two years late offering my thanks here!!!!
LOL!!!!
Extremely well written and characteristically enlightening piece Sam! Bravo! You could easily be writing professional pieces on music somewhere. I mean this quite sincerely.
Thanks quite teh compliment Kaleem. Thanks to you, albeit two years late my friend!
Very small quibble–Simon Keenlyside is, I believe, a baritone, not a tenor.
Otherwise, the review is worthy of the work, even in parts with which I disagree. I have been using the DVD in a class on Shakespeare and Opera (lifelong learning, all senior citizens), and it has been a very surprising hit with my students.
Thomas, you are right on the money there. Keenlyside was erroneously named here by me as a tenor. He’s actually a fabulous baritone in fact. Thrilled to hear that THE TEMPEST has been such a big hit with the Senior group and congratulations to you my friend for your audacious teaching of it!!!
Thanks again!