Recently in Reviews
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.
Like Carmen, Billy Budd is an operatic personage of such breadth and depth that he becomes unique to everyone. This signals that there is no Billy Budd (or Carmen) who will satisfy everyone. And like Carmen, Billy Budd may be indestructible because the opera will always mean something to someone.
American composer John Adams turns 70 this year. By way of celebration no
less than seven concerts in this season’s NTR ZaterdagMatinee series
feature works by Adams, including this concert version of his first opera,
Nixon in China.
Despite the freshness, passion and directness, and occasional wry quirkiness, of many of the works which formed this lunchtime recital at the Wigmore Hall - given by mezzo-soprano Kathryn Rudge, pianist James Baillieu and viola player Guy Pomeroy - a shadow lingered over the quiet nostalgia and pastoral eloquence of the quintessentially ‘English’ works performed.
'Nobody does Gilbert and Sullivan anymore.’ This was the comment from many of my friends when I mentioned the revival of Mike Leigh's 2015 production of The Pirates of Penzance at English National Opera (ENO). Whilst not completely true (English Touring Opera is doing Patience next month), this reflects the way performances of G&S have rather dropped out of the mainstream. That Leigh's production takes the opera on its own terms and does not try to send it up, made it doubly welcome.
On Feb 3, 2017, Arizona Opera presented Giacomo Puccini’s dramatic opera Madama Butterfly. Sandra Lopez was the naive fifteen-year-old who falls hopelessly in love with the American Naval Officer.
In the last of my three day adventure, I headed to Vienna for the Wiener
Philharmoniker at the Musikverein (my first time!) for Mahler and Brahms.
In Amsterdam legend Janine Jansen and the seventh Principal Conductor of the
Royal Concertgebouw, Daniele Gatti, came together for their first engagement in
a ravishing performance of Berg’s Violin Concerto.
I extravagantly scheduled hearing the Berliner, Concertgebouw Orchestra, and
Wiener Philharmoniker, to hear these three top orchestra perform their series
programmes opening the New Year.
There is no bigger or more prestigious name in avant-garde French theater than Romeo Castellucci (b. 1960), the Italian metteur en scène of this revival of Arthur Honegger’s mystère lyrique, Joan of Arc at the Stake (1938) at the Opéra Nouvel in Lyon.
On January 28, 2017, Los Angeles Opera premiered James Robinson’s nineteen twenties production of Mozart’s The Abduction from the Seraglio, which places the story on the Orient Express. Since Abduction is a work with spoken dialogue like The Magic Flute, the cast sang their music in German and spoke their lines in English.
Fecund Jason, father of his wife Isifile’s twins and as well father of his seductress Medea’s twins, does indeed have a problem — he prefers to sleep with and wed Medea. In this resurrection of the most famous opera of the seventeenth century he evidently also sleeps with Hercules.
A Falstaff that raised-the-bar ever higher, this was a posthumous resurrection of Luca Ronconi’s masterful staging of Verdi’s last opera, the third from last of the 83 operas Ronconi staged during his lifetime (1933-2015). And his third staging of Falstaff following Salzburg in 1993 and Florence in 2006.
One of Aidan Lang’s first initiatives as artistic director of Seattle
Opera was to encourage his board to formulate a “mission statement”
for the fifty-year old company. The document produced was clear, simple, and
anodyne. Seattle Opera would aim above all to create work appealing both to the
emotions and reason of the audience.
Contrary to Stolzi’s multidimensional Parsifal,
Holten’s simple setting of Lohengrin felt timeless with its
focus on the drama between characters. Premiering in 2012, nothing too flashy
and with a clever twist,
Deutsche Oper Berlin (DOB) consistently serves up superlatively sung Wagner
productions. This Fall, its productions of Philipp Stölzl's Parsifal and
Kasper Holten's Lohengrin offered intoxicating musical affairs. Annette Dasch, Klaus Florian Vogt, and Peter Seiffert reached for the stars. Even when it
comes down to last minute replacements, the casting is topnotch.
Donna abbandonata would have been a good title for the first concert of Temple Music’s 2017 Song Series. Indeed, mezzo-soprano Christine Rice seems to be making a habit of playing abandoned women.
23 Aug 2005
GIORDANO: Andrea Chénier
Carlo Bergonzi never recorded the role commercially and he is obviously the " raison d'etre " of this set. Among collectors there are quite a lot of Met-performances circulating but none is in very good sound. These performances date from around 1960 during the tenor's heyday but even they prove that the role is not completely his best: part of the score lays a little too high for his tessitura and he misses the sheer power to overwhelm us in some of the arias. This Venice-performance is in good sound and as the theatre is so much smaller than the Met maybe better suited for a role a shade too heavy for the voice. By 1972 too he knew much better where his strong points were and he fully exploits them. Time and again he makes a point by a diminuendo or a piano where Del Monaco and Corelli hector along. While the voice is slightly less beautiful than in the famous 1970-concert performance in London he succeeds in giving us a truly fine " Come un bel di di maggio "; the only piece Luigi Illica culled from the poems of Andre Chenier himself. In London Bergonzi has to switch in a lower gear when he realizes he is not going to make it but in Venice the voice is at its best in the fourth act. There are some fascinating glimpses of the tenor's experienced singing. When in his second act monologue he gets before the beat, he simply introduces a little sob and stage and pit are once on the same wave length. In that terrible first act monologue " Colpito qui m'avete " he has given so much breath in getting to the top in the first verse, that during the second verse he starts declaiming instead of singing though he does that with such skill and conviction that most people in the audience probably thought of it as an interpretative trick. A live audience probably didn't notice the appearance of the weak link in late Bergonzi's vocal armour: a gliding towards a fortissimo note from high A onwards that would almost always result in flat singing above the staff from 1975 onwards.
Raina Kabaivanska is at her most luscious. The Bulgarian soprano combines an original somewhat Slav timbre with Italian style. She is not an easy somewhat lame victim in " La mamma morta ", who surrenders from despair a la Tebaldi but an iron willed lady who sings the aria as a kind of defiance. Subtle her interpretation is not and in decibels she gives tit for tat to the tenor and the baritone though there is never a hint of shrillness.
Aldo Protti is one of Italy's most underrated baritones. He was lambasted after his early Decca-recordings because he didn't bring Gobbi's subtle inflections in his interpretations of Rigoletto and Jago but he had a big healthy baritone voice that could easily fill any house. He was an extremely short man, with a barrel-like breast so that he looked almost as wide as he was tall. This probably didn't help him with some critics but the sound is exciting and well-modulated.
Conductor Paolo Peloso (a name new for me) knew his Giordano and he paces the performance excellently, giving his singers space to breath without overindulging them. All in all not the greatest _Chenier_ available but a worthy alternative if you happen to have a soft spot for one of the principals.