Recently in Performances
Classical Opera’s MOZART 250 project has reached the year 1767. Two years ago, the company embarked upon an epic, 27-year exploration of the music written by Mozart and his contemporaries exactly 250 years previously. The series will incorporate 250th anniversary performances of all Mozart’s important compositions and artistic director Ian Page tells us that as 1767 ‘was the year in which Mozart started to write more substantial works - opera, oratorio, concertos
this will be the first year of MOZART 250 in which Mozart’s own music dominates the programme’.
‘[T]hey moderated or increased their voices, loud or soft, heavy or light according to the demands of the piece they were singing; now slowing, breaking of sometimes with a gentle sigh, now singing long passages legato or detached, now groups, now leaps, now with long trills, now with short, or again, with sweet running passages sung softly, to which one sometimes heard an echo answer unexpectedly. They accompanied the music and the sentiment with appropriate facial expressions, glances and gestures, with no awkward movements of the mouth or hands or body which might not express the feelings of the song. They made the words clear in such a way that one could hear even the last syllable of every word, which was never interrupted or suppressed by passages or other embellishments.’
An exceptional Wagner Der fliegende Holländer, so challenging that, at first, it seems shocking. But Kasper Holten's new production, currently at the Finnish National Opera, is also exceptionally intelligent.
A welcome addition to Lyric Opera of Chicago’s roster was its recent production of Jules Massenet’s Don Quichotte.
800 years ago, every book was a precious treasure - ‘written on skin’. In George Benjamin’s and Martin Crimp’s 2012 opera, Written on Skin, modern-day archivists search for one such artefact: a legendary 12th-century illustrated vanity project, commissioned by an unnamed Protector to record and celebrate his power.
It was like a “Date Night” at Staatsoper unter den Linden with
its return of Eike Gramss’ 2012 production of Puccini’s Madama
Butterfly. While I entered the Schiller Theater, the many young couples
venturing to the opera together, and emerging afterwards all lovey-dovey and
moved by Puccini’s melodramatic romance, encouraged me to think more
positively about the future of opera.
For the Late Night concert after the Saturday series, fifteen Berliners
backed up Barbara Hannigan in yet another adventurous collaboration on a modern
rarity with Simon Rattle. I was completely unfamiliar with the French composer,
but the performance tonight made me fall in love with Gérard
Grisey’s sensually disintegrating soundscape Quatre chants pour
franchir le seuil, or “Fours Songs to cross the
One of the things I love about the Philharmonie in Berlin, is the normalcy
of musical excellence week after week. Very few venues can pull off with such
illuminating star wattage. Michael Schade, Anne Schwanewilms, and Barbara
Hannigan performed in two concerts with two larger-than-life conductors
Thielemann and Rattle. We were taken on three thrilling adventures.
Lyric Opera of Chicago’s original and superbly cast production of Hector Berlioz’s Les Troyens has provided the musical public with a treasured opportunity to appreciate one of the great operatic achievements of the nineteenth century.
The Little Opera Company opened its 21st season by championing its own, as it presented the world premiere of Winnipeg composer Neil Weisensel’s Merry Christmas, Stephen Leacock.
Now in its 31st year, the 2016 Christmas Festival at St John’s Smith Square has offered sixteen concerts performed by diverse ensembles, among them: the choirs of King’s College, London and Merton College, Oxford; Christchurch Cathedral Choir, Oxford; The Gesualdo Six; The Cardinall’s Musick; The Tallis Scholars; the choirs of Trinity College and Clare College, Cambridge; Tenebrae; Polyphony and the Orchestra of the Age of the Enlightment.
As 2016 draws to a close, we stand on the cusp of a post-Europe, pre-Trump world. Perhaps we will look back on current times with the nostalgic romanticism of Richard Strauss’s 1911 paean to past glories, comforts and certainties: Der Rosenkavalier.
Ah, Loft Opera. It’s part of the experience to wander down many dark
streets, confused and lost, in a part of Brooklyn you’ve never been. It
is that exclusive—you can’t even find the
Let’s start by getting a couple of gripes out of the way. First, the
final act of Die Walküre does not constitute a full-length
concert, even with a distinguished cast and orchestra, and with animated
drawings fluttering on a giant screen.
When you combine two charismatic New York stage divas with the artistry of Los Angeles Opera, you have a mix that explodes into singing, dancing and an evening of superb entertainment.
Roderick Williams’ and Julius Drake’s English Winter Journey seems such a perfect concept that one wonders why no one had previously thought of compiling a sequence of 24 songs by English composers to mirror, complement and discourse with Schubert’s song-cycle of love and loss.
A historical afternoon at the NTR Saturday Matinee occurred with an epic
concert version of Prokofiev’s Soviet Opera Semyon Kotko.
Opening night at the Metropolitan is a gleeful occasion even when the
composer is long gone, but December 1st was an opening for a living composer who
has been making waves around the world and is, gasp, a woman — the second woman
composer ever to have an opera presented at the Met.
For an opera that has never quite made it over the threshold into the ‘canonical’, the adolescent Mozart’s La finta giardiniera has not done badly of late for productions in the UK. In 2014, Glyndebourne presented Frederic Wake-Walker’s take on the eighteen-year-old’s dramma giocoso. Wake-Walker turned the romantic shenanigans and skirmishes into a debate on the nature of reality, in which the director tore off layers of theatrical artifice in order to answer Auden’s rhetorical question, ‘O tell me the truth about love’.
As the German language describes so beautifully, a “Schrei aus
tiefstem Herzen” was felt as Evelyn Herlitzius channelled an Elektra
from the depths of her soul.
07 Dec 2004
Rigoletto at Amsterdam (and an appraisal of tenor Joseph Calleja)
How does it come about that "modern" productions date so quickly while "traditional" ones can go on for ages ? Probably, because ideas that once were fresh and innovative are immediately picked up by everybody in the business, copied (sometimes...
How does it come about that "modern" productions date so quickly while "traditional" ones can go on for ages ? Probably, because ideas that once were fresh and innovative are immediately picked up by everybody in the business, copied (sometimes ad nauseam) and seem stale when they reappear some years later.
For one moment I thought that the great recycler-of-the-one-idea-he-ever-had, Mr. Robert Wilson, had directed the Amsterdam Rigoletto. During the prelude the chorus slowly raised their arms in the well known tai-chi manner while the ugliness of their red unisex penguin costumes reminded me of the horrors during the second act of Aida at De Munt in Brussels (later spewed out at London's Covent Garden). A few whispered words told me that the director actually was the Dutch Monique Wagemakers, best known for her work as director of a regional company, and that the production had first been shown in 1996. Miss Wagemakers succeeded exceedingly well in rehashing all clichés of Das Regietheater. The chorus was not only a company of courtiers but of course were viewers as well from high on at the events in the last act. A normal floor is out of the question when one can use an inclined plane that is a comment on its own on what's happening. And to top it all (pun intended) Rigoletto's house is somewhat reduced to one very high steep and rather small flight of steps. There Gilda may sing her Caro nome and there she is kidnapped. One could almost sense the fear of soprano and chorus when they had to wrap her in and then lower her down after Zitti, ziti. And the poor baritone had to run up quite a few steps before able to launch his Ah ! La Maledizione and as could be expected, the voice had no air left and it was only a tiny curse. In short Miss Wagemakers only succeeded while trying to free us from old clichés in giving us new ones.
Mind you, I realize only too well that an old war-horse as Rigoletto is difficult to renovate; especially after Jonathan Miller's updating to Little Italy in the fifties at the English National Opera some 20 years ago. That was an example of a well thought out production that made the opera seem like new to me and I admit, made it difficult for this reviewer to accept the traditional court of Mantua. Still give me the court any day if the alternative is a box of clichés. The one positive aspect of this Rigoletto was the treatment of the singers. No impossible gestures and the face firm to the public.
Conductor Daniele Callegari is a man who knows his Verdi and I was somewhat surprised he chose the easy option to make an impression now and then: either too slow tempi (the prelude) or too fast ones (Cortiginani vil razza). But most of the time he kept a firm rein on the orchestra and was not above indulging his singers. Anthony Michaels-Moore was Rigoletto. I wonder if he could make the same excellent impression in a theatre a size bigger (say Covent Garden). Michaels-Moore is excellent in early Verdi and I liked his Doge in I due Foscari at De Munt very much. He is no roaring madman as Bastianini was and for a moment I wondered if Rigoletto is not a shade too heavy a role. But he succeeded admirably. The voice is smooth, well-rounded and used very stylishly. He often reminded me of Fischer-Dieskau's famous DG-recording in the way he treated words and phrases. But Michaels-Moore 's voice is not a short tenor manqué but a real baritone with a firm brown core and a strong secure top.
Young Italian soprano Cinzia Forte sang Gilda. She has a nice lirico with a firm coloratura technique; somewhat like Rosanna Carteri or young Moffo. The first act she remained a little too bland, too colourless. Just a nice but not too distinct voice. But this changed in the second act when the voice bloomed and took colour. She will probably go far. Roles like Sparafucile and Maddalena are sometimes not cast from strength but one realizes the importance of good voices in these roles as well when one has suffered the hollow ugly tones of both Mario Luperi and Graciela Araya.
And then there was tenor Joseph Calleja whom I had heard a few years back at De Munt in Don Pasquale. In the meantime his career is going fast, maybe even a little too fast. There is a first recital on Decca where he sings a lot of stuff that is simply unsuitable for the voice like Adriana Lecouvreur. So I wondered how much he had improved on his very fine Ernesto of a few years ago. First of all, the voice has gained in strength and volume without damaging the basic colour. Imagine a little bit of young Björling mixed with parts of young Pavarotti and add a healthy dose of young Tagliavini while the small fluttery vibrato is all Calleja's own. In short, a mellifluous and exciting lyric tenor sound in the very best Italian tradition. The voice is maybe not over big but carries extremely well in a difficult theatre like Amsterdam. The only weakness for the moment lies at the very top of the range and that is somewhat unlike Pavarotti and Björling but more than one tenore di grazia had a short top. Still that has improved too. The high B in La donna è mobile rang out freely, courtesy of Maestro Callegari who allowed his tenor a deep breath before attacking the note. Calleja (please pronounce his name as if he would be Spanish, thus Calle- ch- a) for the moment has not got a high C and he should refrain from taking the high option in Addio, addio which he sang in falsetto. There is one Pavarotti-feature he should better not emulate. He will be only 27 next January and already has got weight problems which make costume designers looking for solutions so as not to accentuate his girth. So, please Mr. Calleja, try to rein in your appetite after a performance and it will be better for your breath too.
Now having heard both Calleja and Villazon at Amsterdam in a few months time (and Florez at De Munt), how do they compare ? Villazon is definitely the better actor though as a singer he has his weaknesses too: not much of a piano and not a shameless top note hunter either as is Florez. Calleja definitely has the more beautiful voice, the most exciting rich timbre of all three. His is a golden sound that reminds us of the very best Italian lyric tenors. Villazon is an exciting performer and an impressive voice with his dark smooth sound sometimes quivering from emotion like the fine verismo tenors before the war. Florez lacks either the exquisite sound of Calleja or the big sound of Villazon but is nevertheless a miracle in his repertoire. Personally and this is personal indeed I'd place Calleja nr. 1, followed by Villazon and Florez on third place. But how lucky we are that after the dreary lean years of the late eighties and nineties we have once more such three fascinating tenor voices.