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On Friday evening September 5, 2014, tenor Stephen Costello and soprano Ailyn Pérez gave a recital to open the San Diego Opera season. After all the threats to close the company down, it was a great joy to great San Diego Opera in its new vibrant, if slightly slimmed down form.
English National Opera’s 2014-15 season kicked off with an ear-piercing orchestral thunderbolt. Brilliant lightning spears sliced through the thick black night, fitfully illuminating the Mediterranean garret-town square where an expectant crowd gather to welcome home their conquering hero.
It is now three and a half years since Anna Nicole was unleashed on the world at the Royal Opera House, Covent Garden.
It was a Druid orgy that overtook the War Memorial. Magnificent singing, revelatory conducting, off-the-wall staging (a compliment, sort of).
There was a quasi-party atmosphere at the Wigmore Hall on Monday evening, when Joyce DiDonato and Antonio Pappano reprised the recital that had kicked off the Hall’s 2014-15 season with reported panache and vim two nights previously. It was standing room only, and although this was a repeat performance there certainly was no lack of freshness and spontaneity: both the American mezzo-soprano and her accompanist know how to communicate and entertain.
In strict architectural terms, the stupendous 2nd century Roman
theatre of Aspendos near Antalya in southern Turkey is not an arena or
amphitheatre at all, so there are not nearly as many ghosts of gored gladiators
or dismembered Christians to disturb the contemporary feng shui as in
other ancient loci of Imperial amusement.
Simon Rattle and the Berlin Philharmonic Orchestra brought their staging of Bach's St Matthew Passion to the BBC Proms at the Royal Albert Hall on Saturday, 6 September 2014.
Every so often an opera fan is treated to a minor miracle, a revelatory performance of a familiar favorite that immediately sweeps all other versions before it.
On August 30, Los Angeles Opera presented the finals concert of Plácido Domingo’s Operalia, the world opera competition. Founded in 1993, the contest endeavors to discover and help launch the careers of the most promising young opera singers of today. Thousands of applicants send in recordings from which forty singers are chosen to perform live in the city where the contest is being held. Last year it was Verona, Italy, this year Los Angeles, next year London.
The second day of the Richard Strauss weekend at the BBC Proms saw Richard
Strauss's Elektra performed at the Royal Albert Hall on 31 August 2014
by the BBC Symphony Orchestra, conducted by Semyon Bychkov, with Christine
Goerke in the title role.
Triumphant! An exceptionally stimulating Mahler Symphony No 2 from Daniel Harding and the Swedish Radio Symphony Orchestra, BBC Prom 57 at the Royal Albert Hall. Harding's Mahler Tenth performances (especially with the Berliner Philharmoniker) are pretty much the benchmark by which all other performances are assessed. Harding's Mahler Second is informed by such an intuitive insight into the whole traverse of the composer's work that, should he get around to doing all ten together, he'll fulfil the long-held dream of "One Grand Symphony", all ten symphonies understood as a coherent progression of developing ideas.
The BBC Proms continued its Richard Strauss celebrations with a performance of his first major operatic success Salome. Nina Stemme led forces from the Deutsche Oper, Berlin,at the Royal Albert Hall on Saturday 30 August 2014,the first of a remarkable pair of Proms which sees Salome and Elektra performed on successive evenings
On August 9, 2014, Santa Fe Opera presented a new updated production of Don Pasquale that set the action in the 1950s. Chantal Thomas’s Act I scenery showed the Don’s furnishing as somewhat worn and decidedly dowdy. Later, she literally turned the Don’s home upside down!
At a concert in the Cathedral of Saint Joseph in San Jose, California, on August 22, 2014, a few selections preceded the piece the audience had been waiting for: the world premiere of Dolora Zajick’s brand new composition, an opera scene entitled Roads to Zion.
By emphasizing the love between Sun Yat-sen and Soong Ching-ling, Ruo showed us the human side of this universally revered modern Chinese leader. Writer Lindsley Miyoshi has quoted the composer as saying that the opera is “about four kinds of love.” It speaks of affection between friends, between parents and children, between lovers, and between patriots and their country.
In light of the 2012 half-centenary of the premiere in the newly re-built Coventry Cathedral of Benjamin Britten’s War Requiem, the 2013 centennial celebrations of the composer’s own birth, and this year’s commemorations of the commencement of WW1, it is perhaps not surprising that the War Requiem - a work which was long in gestation and which might be seen as a summation of the composer’s musical, political and personal concerns - has been fairly frequently programmed of late. And, given the large, multifarious forces required, the potent juxtaposition of searing English poetry and liturgical Latin, and the profound resonances of the circumstances of the work’s commission and premiere, it would be hard to find a performance, as William Mann declared following the premiere, which was not a ‘momentous occasion’.
Santa Fe opera has presented Carmen in various productions since 1961. This year’s version by Stephen Lawless takes place during the recent past in Northern Mexico near the United States border. The performance on August 6, 2014, featured Ana Maria Martinez as a monumentally sexy Gypsy who was part of a drug smuggling group.
Sir Mark Elder and the Hallé Orchestra persuasively balanced passion and poetry in this absorbing Promenade concert. Elder’s tempi were fairly relaxed but the result was spaciousness rather than ponderousness, with phrases given breadth and substance, and rich orchestral colours permitted to make startling dramatic impact.
Although far from perfect, the performance of Berio’s Sinfonia in the first half of this concert was certainly its high-point; indeed, I rather wish that I had left at the interval, given the tedium induced by Shostakovich’s interminable Fourth Symphony. Still, such was the programme Semyon Bychkov had been intended to conduct. Alas, illness had forced him to withdraw, to be replaced at short notice by Vasily Petrenko.
Handel's Rinaldo was first performed in 1711 at London's King's Theatre. Handel's first opera for London was designed to delight and entertain, combining good tunes, great singing with a rollicking good story. Robert Carsen's 2011 production of the opera for Glyndebourne reflected this with its tongue-in-cheek Harry Potter meets St Trinian's staging.
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?