Recently in Performances
Written at a time when both his theatrical business and physical health were in a bad way, Handel’s Faramondo was premiered at the King’s Theatre in January 1738, fared badly and sank rapidly into obscurity where it languished until the late-twentieth century.
Fabio Luisi conducted the London Symphony Orchestra in Brahms A German Requiem op 45 and Schubert, Symphony no 8 in B minor D759 ("Unfinished").at the Barbican Hall, London.
The atmosphere was a bit electric on February 25 for the opening night of
Leoš Janàček’s 1921 domestic tragedy, and not entirely in a
Each March France's splendid Opéra de Lyon mounts a cycle of operas that speak to a chosen theme. Just now the theme is Mémoires -- mythic productions of famed, now dead, late 20th century stage directors. These directors are Klaus Michael Grüber (1941-2008), Ruth Berghaus (1927-1996), and Heiner Müller (1929-1995).
The latest instalment of Wigmore Hall’s ambitious two-year project, ‘Schubert: The Complete Songs’, was presented by German tenor Christoph Prégardien and pianist Julius Drake.
On March 10, 2017, San Diego Opera presented an unusual version of Georges Bizet’s Carmen called La Tragédie de Carmen (The Tragedy of Carmen).
For his farewell production as director of opera at the Royal Opera House, Kasper Holten has chosen Wagner’s only ‘comedy’, Die Meistersinger von Nürnberg: an opera about the very medium in which it is written.
The dramatic strength that Stage Director Michael Scarola drew from his Pagliacci cast was absolutely amazing. He gave us a sizzling rendition of the libretto, pointing out every bit of foreshadowing built into the plot.
On February 25, 2017, in Tucson and on the following March 3 in Phoenix, Arizona Opera presented its first world premiere, Craig Bohmler and Steven Mark Kohn’s Riders of the Purple Sage.
During the past few seasons, English Touring Opera has confirmed its triple-value: it takes opera to the parts of the UK that other companies frequently fail to reach; its inventive, often theme-based, programming and willingness to take risks shine a light on unfamiliar repertory which invariably offers unanticipated pleasures; the company provides a platform for young British singers who are easing their way into the ‘industry’, assuming a role that latterly ENO might have been expected to fulfil.
A song cycle within a song symphony - Matthias Goerne's intriuging approach to Mahler song, with Marcus Hinterhäuser, at the Wigmore Hall, London. Mahler's entire output can be described as one vast symphony, spanning an arc that stretches from his earliest songs to the sketches for what would have been his tenth symphony. Song was integral to Mahler's compositional process, germinating ideas that could be used even in symphonies which don't employ conventional singing.
On February 21, 2017, San Diego Opera presented Giuseppe Verdi’s last composition, Falstaff, at the Civic Theater. Although this was the second performance in the run and the 21st was a Tuesday, there were no empty seats to be seen. General Director David Bennett assembled a stellar international cast that included baritone Roberto de Candia in the title role and mezzo-soprano Marianne Cornetti singing her first Mistress Quickly.
In Neil Armfield’s new production of Die Zauberflöte at Lyric Opera of Chicago the work is performed as entertainment on a summer’s night staged by neighborhood children in a suburban setting. The action takes place in the backyard of a traditional house, talented performers collaborate with neighborhood denizens, and the concept of an onstage audience watching this play yields a fresh perspective on staging Mozart’s opera.
Patricia Racette’s Salome is an impetuous teenage princess who interrupts the royal routine on a cloudy night by demanding to see her stepfather’s famous prisoner. Racette’s interpretation makes her Salome younger than the characters portrayed by many of her famous colleagues of the past. This princess plays mental games with Jochanaan and with Herod. Later, she plays a physical game with the gruesome, natural-looking head of the prophet.
On February 17, 2017 Pacific Opera Project performed Gaetano Donizetti’s L’elisir d’amore at the Ebell Club in Los Angeles. After that night, it can be said that neither snow, nor rain, nor heat, nor gloom of night can stay this company from putting on a fine show. Earlier in the day the Los Angeles area was deluged with heavy rain that dropped up to an inch of water per hour. That evening, because of a blown transformer, there was no electricity in the Ebell Club area.
There has been much reconstruction of Marseille’s magnificent Opera Municipal since it opened in 1787. Most recently a huge fire in 1919 provoked a major, five-year renovation of the hall and stage that reopened in 1924.
With her irresistible cocktail of spontaneity and virtuosity, Cecilia
Bartoli is a beloved favourite of Amsterdam audiences. In triple celebratory
mode, the Italian mezzo-soprano chose Rossini’s La Cenerentola,
whose bicentenary is this year, to mark twenty years of performing at the
Concertgebouw, and her twenty-fifth performance at its Main Hall.
Matthew Rose and Gary Matthewman Winterreise: a Parallel Journey at the Wigmore Hall, a recital with extras. Schubert's winter journey reflects the poetry of Wilhelm Müller, where images act as signposts mapping the protagonist's psychological journey.
Donizetti’s Anna Bolena, composed in 1830, didn’t make it to Lisbon until 1843 when there were 14 performances at its magnificent Teatro São Carlos (opened 1793), and there were 17 more performances spread over the next two decades. The entire twentieth century saw but three (3) performances in this European capital.
It is difficult to know where to begin to praise the stunning achievement of Opera San Jose’s West Coast premiere of Silent Night.
22 Feb 2005
Anne Sofie von Otter at Göteborg
Yesterday [19 February 2005], I went to the concert hall in Göteborg, where Anne Sofie von Otter and Bengt Forsberg held a recital. It was the first time I actually heard them live, and I must confess that I was apprehensive! I have listened to them so much on recordings and taken so much influence from them, especially when it comes to my repertoire — what if I didn’t like them in concert? The concert hall was full — 1200 seats, imagine that for a recital… I have a hard time getting jobs at all because it is so hard to attract audiences to recitals. But, they are world famous and that, of course, attracts a large audience.
Anne Sofie von Otter at Göteborg
Yesterday [19 February 2005], I went to the concert hall in Göteborg, where Anne Sofie von Otter and Bengt Forsberg held a recital. It was the first time I actually heard them live, and I must confess that I was apprehensive! I have listened to them so much on recordings and taken so much influence from them, especially when it comes to my repertoire -- what if I didn't like them in concert? The concert hall was full -- 1200 seats, imagine that for a recital... I have a hard time getting jobs at all because it is so hard to attract audiences to recitals. But, they are world famous and that, of course, attracts a large audience.
At the beginning of the recital, I was embarrassed by people who clapped their hands after every song. I was wondering when/if the performers were going to say something about it, you could tell they were not happy about it. But what they did was wonderful! After three songs, Bengt Forsberg came to the microphone and talked about the next set of songs, "Four Serbian Folksongs" by Tor Aulin. Then Anne Sofie von Otter talked about the lyrics. As they were about to start, Bengt Forsberg jumped up again and said "ooh I just want to say that these pieces go so well together and would you please clap after all four are finished. We love that you do it, but..." He said it in such a friendly way that everyone felt at ease, and it was a great atmosphere during the rest of the concert.
Lars-Erik Larsson: Skyn, blomman och en lärka
Wilhelm Stenhammar: Melodi, I lönnens skymning, Gammal nederländare
Tor Aulin: Four serbian folksongs: Till en ros, Vinter i hjärtat, Vad vill jag, Domen
Ernest Chausson: Paysage (for piano)
Cécile Chaminade: L'anneau d'argent, L'amour captif, Viens, mon bien aimé, Sombrero
Franz Schubert: Frühlingsglaube (D 686), Im Frühling (D 882), An mein herz (D 860), Im Abendrot (D 799)
Gustav Mahler: Blicke mir nicht in die Lieder, Ich ging mit Lust durch einen grünen Wald, Aus! Aus!
Erwin Schulhoff: Arabesque (op. 29, no. 1), Two pieces from "Hot music for piano"
Kurt Weill: Nannas Lied, Lied der Seeräuber-Jenny, Speak Low, Foolish heart
A wonderful and varied program. The two performers talked in between the pieces and made the atmosphere of the large room friendly and nice! They truly are professionals and they didn't seem to do anything but what they wanted to do.
The encores were fun: First, ABBAs "Thank you for the music", which became hilarious as Bengt Forsberg didn't play very well and von Otter started waving her arms beating the rhythm. In the end, she grabbed the mike and started to sing into it. I was laughing so hard that I cried- and later we got the explanation to what had happened: The lamps reflected on the music, so Bengt Forsberg couldn't see the music. The other encore was also Benny Andersson, from Kristina from Duvemala, "Ljusa kvällar om varen".
For me, this concert became a precious moment. The two performers truly brought out the best from the music, such a varied program, and everything performed in style. Even if they were funny and relaxed, they still performed the music with all the concentration and finesse that you could ask for. I wonder what they are like when they perform in other countries, if they are as relaxed and funny then, or if different cultures call for different behaviour?
This summer I was at the Scubertiade, and heard many good singers. No one talked in between songs though, and I have a hard time thinking that a concert like this could have taken place there. Or am I wrong?