Recently in Performances
The Wigmore Hall complete Schubert song series continued with a recital by Georg Nigl and Andreas Staier. Staier's a pioneer, promoting the use of fortepiano in Schubert song. In Schubert's time, modern concert pianos didn't exist. Schubert and his contemporaries would have been familiar with a lighter, brighter sound. Over the last 30 years, we've come to better understand Schubert and his world through the insights Staier has given us. His many performances, frequently with Christoph Prégardien at the Wigmore Hall, have always been highlights.
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’.
24 Apr 2005
Mozart's La Finta Giardiniera at Boston University
Last night I saw the second of four performances of Mozart’s La Finta Giardiniera given at the Huntington Theater by the Boston University Opera Institute. Hallmarks of their program are fresh, clear voices brought along in a sane way in appropriate repertory, with stage time given in productions directed, conducted and designed with care. There was a bit of extra drama to this production as Craig Smith, a grand figure in the Boston musical landscape, suffered a heart attack during the final days of rehearsal and David Hoose came to the rescue. The good news is that Smith is doing well. Hoose brought the opera to the stage in fine condition.
Illustration from the title page of a German vocal score to La finta giardiniera, printed around 1829.
Last night I saw the second of four performances of Mozart's La Finta Giardiniera given at the Huntington Theater by the Boston University Opera Institute. Hallmarks of their program are fresh, clear voices brought along in a sane way in appropriate repertory, with stage time given in productions directed, conducted and designed with care. There was a bit of extra drama to this production as Craig Smith, a grand figure in the Boston musical landscape, suffered a heart attack during the final days of rehearsal and David Hoose came to the rescue. The good news is that Smith is doing well. Hoose brought the opera to the stage in fine condition.
I had seen Finta Giardiniera at Glimmerglass almost ten years ago with a cast that reads interestingly now: Giuliana Rambaldi, Sondra Radvanovsky, Marguerite Krull, Karina Gauvin and William Burden. And I didn't get it. The production may well have been at fault, but things that struck me forcefully last night didn't come across at that time. This is very late teenaged Mozart, or he may actually have been twenty at the time of the 1775 premiere. Gluck's librettist for Orfeo provided a text that has at its center the same situation that would explode ninety years later into Tristan und Isolde. A pair of lovers in a tempestuous relationship: he stabs her in a fit of jealousy and flees, believing her dead. She survives and goes out in disguise to find him. She does so as he is on the verge of marrying. Their reunion causes emotional turmoil and other plot complications. The dramatic device here isn't a potion but a night of temporary insanity that ends at dawn with recognition that their love is still there. In a great duet they reconcile. A conventional happy ending with three couples united ends the opera. At this point in Mozart's career, many of the arias are delightful and well composed but conventional in form and the orchestral introductions to some create problems for singers and director by going on at great length with no obvious dramatic function. But some of the numbers — just enough to make the situation achingly real--find the composer trapping into the inner life of the characters in a way that presages the great works to come. The crucial duet of reconciliation, in particular, is deeply human and compassionate — and beautiful music into the bargain
The opera is chock full of previews of things to come, particularly in Cosi Fan Tutte and Don Giovanni. Of principal interest is the entire matter of tone, as LFG mixes seria and buffo characters in a manner that will lead to Leporello interacting with Donnas Elvira and Anna, and Despina calling the shots chez Fiordiligi and Dorabella, albeit a bit more smoothly in both cases. In an uncommonly interesting program note, director Sharon Daniels (who drops a line that will resonate well with many opera lovers: "believing as I do that the composer is the first stage director") discusses second and third thoughts about how to direct and design this opera based on what seemed like conflicting signals from that very composer. At first she found grinding rather than shifting gears, and grand tragic arias that simultaneously poked fun at the over-the-top suffering of the character involved — a device to be found in later Mozart as well. Her eventual solution was to place the action in the Edwardian period, in the artifice of highly colored art nouveau decor and graceful very masculine and very feminine costumes.
Under Hoose's lively presentation of what Smith had prepared, ensemble was strong and the young cast sang strongly, particularly Jessica Tarnish as heroine Sandrina and Darren Anderson as the limpid, bright-voiced tenor hero Count Belfiore. But the cast as a whole deserves mention: petite, accomplished coloratura Stephanie Chigas en travestie as Ramiro, Michael Callas, who understood perfectly that Nardo was to be father to both Leporello and Figaro, Joyce Ting's witty minx of a serpetta, Courtenay Symonds, scoring in both comedy and voice as Arminda, and Oshin Gregorian as the flustered, frustrated Podesta.
Ms. Daniels arrived at a particular series of decisions on the proper mix of low comedy, pathos and high sentiment. That her decisions might or might not have been mine in any particular instance is irrelevant. The production emerged a unified whole. An indication that she had achieved her goal was that intermission conversation centered around plot points and the sincerity of a particular character's emotions at a particular moment in the story.