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Music / operafilm

Only the sound remains

Kaija Saariaho

Reviews (3)

BBC music magazine

2018 April

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By

Kate Wakeling

2018 April

"The opera draws on two Noh plays, as translated by Ezra Pound and Ernest Fenollosa ... Peter Sellars directs ... Yet despite such promise, the production makes for peculiarly dreary viewing, notwithstanding some fine performances from soloists and ensemble ... The work holds some rich material, but never quite gets off the ground. Saariaho's scoring for the seven-piece digitally-enhanced ensemble is often mesmerisingly beautiful, shimmering with bass flute and kantele ... but the vocal writing for the two soloists lacks convincing emotional punch, despite the best efforts of countertenor Philippe Jaroussky and bass Davóne Tubes ... All in all ... an oddly underwhelming experience".

The gramophone

2018 January

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By

Andrew Mellor

2018 January

"One part of the booklet describes Kaija Saariaho's Only the Sound Remains as Two Noh plays and another Two short operas ... We could spend a long time arguing whether ... or just focus on the fact that ... it isn't particularly entertaining, challenging or musically significant ... There is some breathtaking stagecraft in both pieces ... But the physical language of Jaroussky in particular feels affected ... [His] vocal agility and clarity is never in doubt. Tines's baritone seems to be invested wit huge subtlety of colour and expression but the fragmentary nature of what he sings stops you listening properly".

Fono Forum

2018 Mai

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By

Manuel Brug

2018 Mai

"Peter Sellars inszeniert sie gewohnt minimalistisch zeichensprachlich. Da passiert nicht viel, alles ist Atmosphäre und Andeutung ... Das kleine Orchester von André de Ridder fliesend dynamisch dirigeirt ... ist verstärkt, auch elektronisch manipuliert. So flutet, wiegt und wogt diese musik in leuchtender Fülle und struktureller Durchsichtigkeit durch den Raum. Immerhin fügt Sellars diesen beiden Opern-Haikus im Goldtonrahmen ein paar verstörend erotisierende Undertöne hinzu, indem er sinnliches begehren zwischen den beiden Kontrahenten, Jaroussky und dem optisch wie vokal prachtvollen Bariton Davone Tines entwickelt".