The satirical stories of Svatopluk Čech may not be well known to Anglophone readers, yet these Czech tales are classics in their own right. They inspired the great Czech composer Leoš Janáček to write The Excursions of Mr Brouček. One of his lesser-heard masterpieces, it’s a highly amusing, true oddity of an opera. With a gaggle of librettists, it seems this was originally a difficult work to stage, filled with problems.
As one would expect, Janáček enthrals with his uniquely robust orchestral writing, often piercingly dramatic and essentially Czech. Scurrying arpeggios, earth quaking timpani and blazing brass are just a few of his several unique selling propositions. In terms of the voices, they also receive Janáček’s very particular treatment. Even in the realm of opera, this can be so over the top but ultimately, thrilling and witty. Hearing Excursions for the first time in concert with the London Symphony Orchestra under its former music director Sir Simon Rattle on May 4, this was essentially a great night.
Sir Simon Rattle conducts London Symphony Orchestra’s The Excursions of Mr Brouček. Photo: Mark Allan
Storywise, these excursions are fairly simple in nature, though open to broad interpretation. Potential stagings might suggest dream-like states, or genuine time travel, as our anti-hero is sent both to the moon and back into the past. Hilarity ensues as the beer-loving landlord Brouček faces culture clashes with artsy moon people and then, 15th-century squires, leading to his potential involvement in a historical squirmish as a soldier. Making it out unscathed, he is victorious, though still branded a heathen and almost burned at the stake. Like his moon visitation, Brouček returns home to Prague as if nothing happened and all is well. No one would believe his antics, how could they?
It’s all very Wizard of Oz, with dollops of Mark Twain, early Hollywood and Doctor Who. Musically the first half is languid within the moonscape for the sake of art and beauty. The second act does an immaculate job in transforming ‘medieval’ music with bagpipes, organ, harp to a rousing fever pitch. It is fascinating to hear how Janáček brilliantly layers an older style of music into his sour, cataclysmic style.
Tenor Peter Hoare in the title role of London Symphony Orchestra’s The Excursions of Mr Brouček. Photo: Mark Allan
We’ve seen several opera concerts from the London Symphony Orchestra and this might be the best of them, if not the most unique. The orchestra is always impressive with its pristine, incisive playing. Rattle was also cheeky, having forgotten his baton in the first part. Now LSO’s Conductor Emeritus, his 2017-23 tenure with the orchestra was evident in his love for and support of its players. What he brings to these massive forces is an energised mastery of the score, and yet, he relaxes players and audience alike with his approachable demeanour. It’s special when he conducts, everything just works.
A formidable cast delivered in all senses. The night belonged to tenor Peter Hoare in the title role. With his early work with Welsh National Opera now well behind him, he is perfect here, the comic timing is right, his Czech sounds solid and he masters the all-round vulgarity of playing Brouček. Soprano Lucy Crowe gets a trio of roles, perhaps excelling best as Etherea. A highly outgoing performer, this assignment was a fine match for the exuberant Crowe.
The London Symphony Orchestra’s The Excursions of Mr Brouček. Photo: Mark Allan
Czech tenor Aleš Briscein was also triple cast, singing with gusto in his native language. He is the straight man for much of the opera, and his command over the mountainous vocal demands was formidable. Gyula Orendt had four characters to play, his baritone sounding alarmingly good in some meaty supporting characters including the Sakristân and Lunobor. A larger supporting cast, including other Czech artists (Lukáš Zeman and Doubravka Novotná stood out), melded with these fleeting characters. The chorus Tenebrae also impressed in their role as spectators in awe of the leading man in both the future and historic settings. They delivered some utterly bizarre vocal writing with aplomb.
This already feels like a highlight of the concert year.
For more on the London Symphony Orchestra’s season visit www.lso.co.uk
