We are getting more takes on highly ambitious operatic material from amateur and semi-professional companies now. Even with Richard Wagner, they are keen to tackle the demanding force of the problematic German composer.
New Palace Opera are an emerging group whom perform in the stupendous St John's Church, Waterloo. With Anna Loveday as soloist, they commenced this concert with the oddly named Wesendonck Lieder. Tied to the affair the composer was having with the poet named after the songs, some of this material would later be used for his epic Tristan and Isolde. This was a bit of a ropey start, even with some lovely moments between singer and orchestra. The brass tripped up a few times and Loveday couldn't quite find her footing. The last song Träume (Dreams) was still as lovely as ever, floaty and resilient.
2024 will go down as the year of musical discoveries in the classical world. Mozart, Chopin and now Wagner all had premieres found, in obscure places by keen-eyed experts and academics. Conductor tonight Jonathan Finney, found in the so-called 'Brown Book' transcriptions not noticed by others. They are a tribute to the first Tristan tenor Ludwig Schnorr von Carolsfeld, who died at 29. In Memoriam - A Funeral March takes these fragments (heard on piano) and thanks to Finney, finished in a sensible way for orchestra, that adheres to the Wagner atheistic. The brief bars sound very like Tristan, filled with the 'suspended climax' you expect from this era. Hats off to Finney for giving this a go, it worked and was a noteworthy encounter.
Ending with a bang, Act 3 to Die Walküre. This is where everyone came into their own, past a few slips and faults. Within minutes I had goosebumps, The Ride of the Valkyries the iconic opening cast us off in the air. The list of chattering Valkyries is too long to note, yet they excelled in the various voice ranges, wonderful cries and shrieks abound. Loveday returned as Sieglinde, now stratospheric in her demandingly brief appearance. Brünnhilde from Shannon Roberts took this on with determination, the difficult nature of the role infamous. Roberts had earth and style to her voice, it just worked.
A furious Gerrit Paul Groen as head God Wotan is hellbent on finding Brünnhilde after her betrayal. He stormed into the church, smashed his sheet music and was livid for most of the time present. His singing was grand, I found depth and the fury raging inside him. Finney gets loads out of the orchestra, who shone here. Wotan's Farewell and the Magic Fire Music were as moving as ever, the universal themes of love, pain, duty, betrayal and honour ever present. I was really rather impressed and would love to see more.
New Palace Opera will perform Britten's Peter Grimes at St John's, Waterloo on June 15 2025.
Review: James Ellis Photo: New Palace Opera