MEMETERIA by Thomas May

Music & the Arts

Dausgaard and Seattle Symphony Take on an Early Sibelius Epic


photo: Brandon Patoc

My review for Bachtrack of Thomas Dausgaard and the Seattle Symphony in Sibelius’s Kullervo:
On 28 April 1892, when he was only 26, Jean Sibelius unveiled Kullervo to the public. Its triumph established both his career as a composer and his reputation as Finland’s musical bard…

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Filed under: review, Seattle Symphony, Sibelius, Thomas Dausgaard

A Very Palpable Hamlet from The Horse in Motion


Kevin Lin as Hamlet; photo (c) Kyler Martin for The Horse in Motion

Hamlet is usually encountered as an object of reverent study or, in performance, a vessel of virtuosity. But in its recent staging at an old Seattle mansion, The Horse in Motion found a way to turn the play back into a visceral theatrical experience — one full of discovery for bardolaters and newcomers alike.

In lieu of a traditional theater, the action was set in (and around) the Stimson-Green Mansion, a meticulously preserved 1901 home with an English Tudor Revival exterior and a wonderfully eccentric, all-over-the-place interior, located on Seattle’s First Hill.

But the novelty of presenting Hamlet as a site-specific event turned out to be just one facet of this adventurous company’s innovative take.  Brooklyn-based director Julia Sears double cast Hamlet‘s major roles among a team of eleven actors, thus creating two simultaneous productions that unfolded in different rooms of the mansion.

The audience — limited to about 40 people for each performance — was correspondingly split in two and given a cast list designed as an invitation either to the wedding of Claudius and Gertrude or to the funeral of Hamlet Senior. In various key scenes, the two casts converged in the same space, so that, for example, we saw twin Hamlets confronting the same situation — as if these parallel universes had suddenly intersected.

At these face-offs, the double Hamlets and colleagues divvied up their lines or enacted them simultaneously. Sometimes the actors from the other cast were close enough to be audible, the slightly unsynchronized delivery intensifying a sense of  patterns being eerily repeated — like a familiar ghost story retold, with just enough of a sick twist to add a new frisson.


Mario Orallo-Molinaro, Katherine Bicknell, and Kevin Lin; photo (c) Kyler Martin for The Horse in Motion

Virtuosity there was indeed, but a kind of virtuosity even more demanding than usual. For instance, Kevin Lin played Hamlet for the group to which I was assigned (the wedding party) during the second-to-last performance (28 April), homing in on the prince’s sense of desperate frustration to powerful effect. But in addition to this monumental assignment, he had to morph into Laertes for the “funeral” production and calibrate his interpretation to that of the other Hamlet, the commandingly eloquent Jocelyn Maher (who, in turn, was our Laertes).

Specific angles in the wedding cast — the intensity of the sexual bond between Claudius (Ben Phillips) and Gertrude (Tatiana Pavela) — made me curious about the parallel chemistry in the funeral cast’s scheming royal pair. Gender-blurring assignments also added a fascinating dimension to the experience. Along with the male-and-female Hamlets and Laerteses, both Hannah Ruwe and Nic Morden were double Ophelias (as well as Horatios). During the “mash-up” scenes, we saw both manifestations of Hamlet and Ophelia interacting with each other. Polonius, meanwhile, was played as a society matron by Laura Steele in both casts.

This may sound like a merely clever concept, but in performance it was riveting from start to finish, reinforcing what is at stake in Hamlet with unforgettable theatrical power. “Who’s there?” — the play’s first line, delivered urgently on a chilly, damp lawn next to the mansion — acquired fresh implications.


l to r: Jocelyn Maher (Hamlet), Mario Orallo-Molinaro (Guildenstern), Ben Phillips (Francisco), Ian Bond (Claudius), Ophelia (Nic Morden), and Hannah Ruwe (Horatio); photo (c) Kyler Martin for The Horse in Motion

Jenn Oaster’s early-20th-century smart-set costumes, enhanced by Alex Potter’s period music sound design, evoked associations from the era when the Stimson-Green Mansion was built, of ghosts from its particular past. On one level, this suggested Hamlet’s tragedy playing out in a particular context of privilege, his madness presenting as fragmentation.

But Sears’s vision probed well beyond the psychological realism that has become the default setting of too much contemporary theater. I especially relished the surreal effects of the doubling, as well as the ironic humor of defamiliarizing such iconic scenes by means of another kind of familiarity — i.e., an imagined upper class family life in this setting. (Speaking of humor. Ian Bond’s cliché-free, inventive performance as the Gravedigger in the final act was itself worth the price of admission.)

Sears and her design team made imaginative use of the variety of spaces available on the premises. Instead of a fourth wall to break, the setting itself became a protagonist, offering new elements to explore with each gently orchestrated redirection of the audience to a different room: a raging fire in the hearth, a trip up creaking stairs for the genuinely intimate bedchamber scene, a spacious ballroom where the overwrought, speedy finale of death plays out after so much anticipation. (One quibble: the amplification device for the cloaked Hamlet’s Ghost — curiously, not credited in the program listing — distorted too many words in that crucial scene.)

I asked a friend who was also part of the wedding party for his impressions of this nontraditional performance setting. He told me that the experience of  “moving along with the cast, and in such close quarters, brought us closer to the play than we ordinarily might have been.”

I’ve never actually felt nervous before during Hamlet and Laertes’ final fencing match. This time, I was viscerally aware of the nuances of the fight choreography as the rapiers clashed inches away. The only drawback was that the logistics limited the audience size, so that local theater lovers who didn’t plan ahead missed out on this remarkable experience.

As the dead bodies, doubles included, lay strewn about, not even Fortinbras (the excellent Mario Orallo-Molinaro) could set things right. Sears’s final touch removed the precious sliver of optimism the Norwegian crown prince represents, making him another victim of the sad state of this world.

–Review (c) 2018 Thomas May. All rights reserved.

Filed under: Horse in Motion, review, Shakespeare

Seattle Symphony Performs Stravinsky’s Perséphone


Stravinsky’s Perséphone at Seattle Symphony in Michael Curry staging; photo by Brandon Patoc

My review of a very memorable evening with Ludovic Morlot, Seattle Symphony, and the visual artistry of Michael Curry:

Since its tepid première at the Paris Opera in 1934, Perséphone has remained among the most neglected of Stravinsky’s major scores, unable to find a comfortable home on the opera, ballet or concert stage.

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Filed under: Ludovic Morlot, review, Seattle Symphony, Stravinsky

Opera Omaha’s Inaugural ONE Festival Proves Up to Its Ambitions


Proving Up by Missy Mazzoli and Royce Vavrek, directed by James Darrah, with John Moore, Talise Trevigne, Michael Slattery, Cree Carrico, Abigail Nims, Andrew Harris, and Sam Shapiro; photo (c) Emily Hardman

My coverage of the inaugural ONE Festival at Opera Omaha is now live on Musical America. (I’m afraid there’s a paywall.)

I devoted Part 1 to the world premiere of Proving Up, the brilliant new opera by Missy Mazzoli and Royce Vavrek in James Darrah’s staging:

Part 1

Part 2

Filed under: American opera, directors, Musical America, new opera, Opea Omaha, review

Swept Away by Morlot’s La mer

1617_Concerts_2018.04.19 (12).jpg

This week’s Seattle Symphony program culminates in one of music director Ludovic Morlot’s specialities: La mer, the finale to a program initially designed around orchestral color.

It opens with Escales (“Ports of Call”) by Debussy’s younger compatriot Jacques Ibert. This tripart travelogue from the early 1920s unabashedly exploits clichéd Orientalist and Spanish tropes, but the composer’s treatment of the orchestra is fresh, and Morlot found enough appealing nuances here to make it an enjoyable outing — and to pique interest in hearing more of this now-neglected composer’s considerable output.

The program had originally been slated to include a real rarity — Scriabin’s Piano Concerto, an early work that isn’t exactly in most pianist’s ready-to-go rep. Daniil Trifonov withdrew because of illness at the last minute, so it wouldn’t have been reasonable to expect Inon Barnatan to play the Scriabin when he agreed to save the day.

Scriabin’s synesthesia was meant to be a linking thread here — and perhaps something about Debussy’s Russian influences? — but the substitute turned out to be quite satisfying anyway: Mozart’s K. 488 Piano Concerto, which dates from just before the Figaro premiere.

I was impressed by Barnatan’s SSO debut two years ago (in Beethoven’s Third Piano Concerto). Once again, there was much to admire in his ultra-refined approach to the Mozart, which I heard on Thursday night — all the more striking, given that the concerto’s seemingly straightforward textures were surrounded by the complex hues and ravaging color fields of the rest of the program.

But I was puzzled by the shift from Classical poise to Romantic exaggeration of gesture in the minor-key slow movement, which contains some of Mozart’s most heart-rending music. Barnatan is such a naturally expressive interpreter that I think he would have been more effective without adding italics. Still, there were moments of that elevated beauty squeezed from the most commonplace phrase that set Mozart apart. The finale had all the joie de vivre of the Figaro that was waiting in the wings.

Morlot combined Respighi’s Pines of Rome with Debussy (Nocturnes) early in his tenure, and this time he took up the Italian’s Fountains. It’s hard to avoid the charge of musical padding here in Respighi’s opulent, neo-Richard Straussian scoring, but Morlot shaped the vignettes into miniature dramas that held interest. The SSO’s playing was at a high level, with especially fine ensemble from the strings.

It all seemed to set the stage perfectly for Debussy’s quasi-symphony La mer — including the times-of-day conceit of Respighi’s homage to Rome, moving from the sun’s fading at the Villa Medici to Debussy’s oceanic dawn.

But it soon became clear that Morlot wasn’t interested in “painting” with tone colors or the kind of pictorialism of Ibert — in other words, that he wasn’t treating La mer as another piece of program music that proves how clever Debussy was at conjuring mental images of aspects of the sea through his orchestration. In fact, and especially in contrast to the Ibert, it became obvious how much Debussy manages to do without resorting to standard musical tropes to suggest water.

Instead, the “colors” here seemed closer to the way we find them used in a Mahler symphony: expressions of an internal cosmos, building into a wordless drama of struggle and affirmation.

In his latest take on the piece, Morlot often went in surprising directions. Most remarkable of all was the intensity of the drama in the third panel, which exuded an almost terrifying ferocity I’d not heard in live performances of La mer.

The synergy with the SSO was exciting. Mary Lynch’s rendition of the ambiguous oboe phrase crowned an evening of stellar playing by the woodwinds. Morlot has internalized Debussy’s score to such a degree that he occasionally created the illusion of writing it on the spot. A moving tribute to Debussy’s continuing relevance.
–Review (c)2018 Thomas May. All rights reserved.

Filed under: Debussy, Ludovic Morlot, review, Seattle Symphony

The Esoterics: Concert Review


Photo by Bruce Weber

Review of The Esoterics for the Seattle Times:

The Esoterics Sing Radically Secular Rewrites of Texts from the Christian Mass

The Esoterics have a reputation for giving voice to new ideas. But this past weekend’s program explored a concept that was unusual even for them.

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Filed under: choral music, review, Seattle Times

In Search of Mahlerian Music Drama at LA Phil

I covered a very unusual approach to Mahler’s Das Lied von der Erde for Musical America. This remarkably original staging by Yuval Sharon and the Chile-based Teatrocinema Company was performed this past weekend by the Los Angeles Philharmonic and Gustavo Dudamel, with soloists Russell Thomas and Tamara Mumford.
[review behind paywall]

Filed under: Los Angeles Philharmonic, Mahler, Musical America, review, Yuval Sharon

Becoming the Light


Composer John Luther Adams with conductor Ludovic Morlot and the Seattle Symphony Orchestra. Seattle Symphony presents the world premiere “Become Desert” March 29 and 31. (Brandon Patoc )

And what a night: Seattle Symphony and Ludovic Morlot have given the world premiere of Become Desert by the incomparable John Luther Adams.

My review for The Seattle Times here, where I was only able to offer a few hints of how extraordinarily original, enthralling, and transformative this music is.

Filed under: Beethoven, John Luther Adams, review, Seattle Symphony

Cav/Pag at Grand Théâtre de Genève

I realize it’s only the inertia of tradition that keeps Cavalleria rusticana and I Pagliacci glued together as a double-bill; otherwise they seem silly side by side, a forced pairing that makes no sense. Is it precisely this juxtaposition that makes Cav so difficult to direct? Or is it just the temptation to read too much into it, not accepting the naiveté and directness that are the essence of Mascagni’s opera?

I was thinking about this after seeing the current edition of the pair at Geneva Opera (in its pop-up temporary performance space at the Opéra des Nations). Each opera was divvied out to a separate director: Emma Dante for Cav, Serena Sinigaglia for Pag.

This Cav fell dramatically flat, while the Pag was thoroughly gripping and delivered its expected punch, plus some — the contrast in effectiveness all the more striking.

Cav had the burden of an overcooked dramaturgical conception, juxtaposing a re-enacted Passion scenario with the simple melodrama of jealous lovers and revenge, all set on a darkly-lit stage. A recurrent tableau ensemble showed Jesus on his way to the Crucifixion, hammering home an intended parallelism with Giovanni Verga’s narrative and its atmosphere of Gothic gloom, without the countervailing joy of the Easter celebrations in which it unfolds.

This dampened the built-in effect of the musical contrasts, despite the excellent work of the chorus prepared by Alan Woodbridge. The casting was weak, above all for the Turiddu (sung by Marcello Giordani, who sounded alarmingly strained at the top of his range).

I’d seen and admired Emma Dante’s Macbeth at Edinburgh International Festival last year, so the miscalculations here were surprising. New to me on the other hand was Serena Sinigaglia, who understood how to pace the interactions in Paglicacci for maximal impact. There was just one misstep, in my opinion: a prolonged meta-theater indulgence during the Prologue, with Stage Director and Co. frantically getting the set of forlorn wheat fields in place, which surrounded a simple wooden stage.

It wasn’t that cliché, but the power and intensity of the performers who brought home the ironic point that art and life literally bleed into each other. Maybe verismo isn’t the “slice of life” naturalism it’s so often claimed to be so much as an aesthetic given to its own kind of stylized artifice that tries to make sense of recurring human patterns. Certainly the presence of the crowd here felt more palpably pressuring, willing participants in this society of codes, than in Dante’s Cav.

Diego Torre delivered a genuinely terrifying Canio, and Roman Burdenko (had just sung a thrilling Alfio) gave Tonio an almost Jago-like infusion of malevolence. Nino Machaidze’s combined beauty and grit for a memorable portrayal of Nedda.

Conducting the house Orchestre de la Suisse Romande with dramatic flair as well as melting lyricism was Alexander Joel throughout the evening. He was especially attentive to the range of colorings in Leoncavallo’s more complex score.

Filed under: Geneva Opera, review

A Rousing Reunion for Esa-Pekka Salonen and the Los Angeles Philharmonic


Esa-Pekka Salonen © Benjamin Suomela

Esa-Pekka Salonen’s return to Walt Disney Concert Hall highlighted his gifts as composer and conductor alike and underscored how an orchestra can sound genuinely 21st century.

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Filed under: Beethoven, Los Angeles Philharmonic, review, Salonen

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