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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
Applications are now open for the Bampton Classical Opera Young Singers’ Competition 2017. This biennial competition was first launched in 2013 to celebrate the company’s 20th birthday, and is aimed at identifying the finest emerging young opera singers currently working in the UK.
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).
Handel’s Partenope (1730), written for his first season at the King’s Theatre, is a paradox: an anti-heroic opera seria. It recounts a fictional historic episode with a healthy dose of buffa humour as heroism is held up to ridicule. Musicologist Edward Dent suggested that there was something Shakespearean about Partenope - and with its complex (nonsensical?) inter-relationships, cross-dressing disguises and concluding double-wedding it certainly has a touch of Twelfth Night about it. But, while the ‘plot’ may seem inconsequential or superficial, Handel’s music, as ever, probes the profundities of human nature.
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.
A skewering of the preening pretentiousness of the Pre-Raphaelites and Aesthetes of the late-nineteenth century, Gilbert and Sullivan’s 1881 operetta Patience outlives the fashion that fashioned it, and makes mincemeat of mincing dandies and divas, of whatever period, who value style over substance, art over life.
Irish mezzo-soprano Tara Erraught demonstrated a relaxed, easy manner and obvious enjoyment of both the music itself and its communication to the audience during this varied Rosenblatt Series concert at the Wigmore Hall. Erraught and her musical partners for the evening - clarinettist Ulrich Pluta and pianist James Baillieu - were equally adept at capturing both the fresh lyricism of the exchanges between voice and clarinet in the concert arias of the first half of the programme and clinching precise dramatic moods and moments in the operatic arias that followed the interval.
This Sunday the Metropolitan Opera will feature as part of the BBC Radio 3 documentary, Opera Across the Waves, in which critic and academic Flora Willson explores how opera is engaging new audiences. The 45-minute programme explores the roots of global opera broadcasting and how in particular, New York’s Metropolitan Opera became one of the most iconic and powerful
producers of opera.
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.
The first production of Ryan Wigglesworth’s first opera, based upon Shakespeare’s The Winter’s Tale, is clearly a major event in English National Opera’s somewhat trimmed-down season. Wigglesworth, who serves also as conductor and librettist, professes to have been obsessed with the play for more than twenty years, and one can see why The Winter’s Tale, with its theatrical ‘set-pieces’ - the oracle scene, the tempest, the miracle of a moving statue - and its grandiose emotions, dominated as the play is by Leontes’ obsessively articulated, over-intellectualized jealousy, would invite operatic adaptation.
Today, Wexford Festival Opera announced the programme and principal casting details for the forthcoming 2017 festival. Now in its 66th year, this internationally renowned festival will run over an extended 18-day period, from Thursday, 19 October to Sunday, 5 November.
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.
Gustav Mahler and fin-de-siècle Vienna will be the focus of the Oxford Lieder Festival (13-28 October 2017), exploring his influences, contemporaries and legacy. Mahler was a dominant musical personality: composer and preeminent conductor, steeped in tradition but a champion of the new. During this Festival, his complete songs with piano will be heard, inviting a fresh look at this ’symphonic’ composer and the enduring place of song in the musical landscape.
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.
22 Aug 2005
Any new recording of Handel under the baton of Rene Jacobs has to be greeted with both respect and interest, even if the absolute need for another recording of this well-represented oratorio is debatable. Perhaps some Handel scholars would argue with that and are still discussing the precedence of the current available recordings — the older Gardiner, the Neumann, or the more recent McCreesh for instance. So, one presumes, this recording of "Saul" on the Harmonia Mundi label must be intended to either trump those three or to at least offer a viable fourth choice for those who prefer their Handel oratorios as complete as possible. And a plus point is that the entire work is squeezed onto just 2 CDs with a total running time of 2 hrs 30 minutes, accompanied by some stimulating liner notes by Pierre Degott that are both informative and absorbing for the non-specialist consumer.
Does it succeed in surpassing the current competition? Instrumentally there's certainly a case for saying so. For instance, in the opening symphony we are treated to bright jewelled textures, with true Allegro tempi and some wonderful sound balancing work by the engineers in the Larghetto and Andante sections between the winds and strings where every instrument is faithfully reported. This level of playing and recording continues throughout. The 40-strong Concerto Koeln sound as good as one rightly expects of them under this director, with perhaps only the winds and brass shining a little brighter than the rest of this exemplary crew. There was one small detail that I especially enjoyed: the carillon is a delight in the opening of scene 3 where its crystalline notes contrast delightfully with the chorus's heavier wedges of sound. I also relished a relatively elevated and clear-textured "Dead March" — no lumpen morbidity here, rather a majestic and calm portrayal of inevitable death that leads inexorably into the chorus's smoothly-sung Elegy. Jacobs is somewhat renowned for taking a degree of liberty with some works, but here I found little that jarred (at least on the instrumental side) and indeed I heard a piece of music new to me in a recitative and accompagnato in Act 1, ably sung by the High Priest (Michael Slattery). Presumably this was one of those "pick and mix" elements that Mr. Handel was prone to add or delete depending on circumstances.
Vocally, I'm not so sure that this recording achieves to the same extent, but it certainly offers a rewarding alternative, and one's final choice of recording (if choice one must make) will surely rest on subjective preferences for certain voices, and certain elements of choral production. Indeed, my first reaction to the 36-strong RIAS-Kammerchor's opening lines was one of slight disappointment at the diction and the English ... a definite Germanic vowel sound is evident and it doesn't help a distinctly muddy delivery of the faster lines which continued right through to the final chorus of Act Three. I found myself straining to catch the words — and that was with the libretto to hand. No such problems with any of the soloists however: all eight are crisp and clear throughout.
If I had to give a "best in show" award to a soloist, it would have to be to Emma Bell as Saul's feisty daughter Merab. In her first character-defining aria "What abject thoughts....." she displays a wonderful mix of spot-on coloratura and warm incisive tone with some quite thrilling ornamentation which pins the listener to the seat and declares: this lady is not for trifling with. However, as her character softens, or at least expands, we can luxuriate in one of the most gorgeously expressive soprano voices singing today. She is simply superb in the quietly contemplative "Author of peace" where a feeling of controlled power is complemented by a rich long line and exquisite, minimal, decorations which illustrate perfectly her gradual change of heart.
Jeremy Ovenden sings the part of Jonathan with a no-nonsense, crisp characterisation which from the start tells us this man is no puppet prince, but one of honour and courage. As ever in this work, one wishes that he didn't disappear as early as he does. If Ovenden's more thoughtful passages lack a certain elegance of line perhaps better found in other recordings, this is still a very convincing performance. His dramatic sense is evident — one can hear this quite clearly in Act Two, for instance, in his resolute, if intimidated, confrontation with the bullying King Saul as he attempts to protect his friend and thus incurs the royal wrath.
The role of that friend, the young warrior David, is sung by Lawrence Zazzo. This American countertenor has been working extensively in Handel productions on the continent of Europe in the past few years so it's not difficult to see why Jacobs chose him for this recording. Vocally, he seems to occupy a place somewhere between the radically-different styles of the two recent starry "Davids" of note, Andreas Scholl on the Archiv recording with McCreesh and David Daniels' live portrayals in Edinburgh and Munich, but without their sheer class across the board, or quite yet establishing a truly personal sound of his own. He has a surprising tendency to shrillness in the faster, louder passages, as on the plus side his voice is warm and elegant in slower passages and very sweet in the highest registers. If he doesn't sound completely at ease with some of the ornaments he sings then maybe it's because some are definitely quirky, if not downright contentious: have a listen to the final repeats of the words "his wounded soul" from the aria "O Lord, whose mercies numberless" in Act 1, if you don't believe me. However, this is still a performance of merit, questionable ornamentation notwithstanding.
Having enjoyed her live performance in Munich so much, I was just a little disappointed in this Michal of Rosemary Joshua's — perhaps her lighter-hued voice is just ill-matched with that of Bell's and comes off worst in comparison. For all her undoubted technical mastery of the genre and supremely elegant singing, I felt this was not Joshua at her very best — something was lacking. Having said that, a slightly below-par Joshua is still a force to be reckoned with and she is still a Michal-of-choice for many Handelians. Just listen to the way she fashions her voice to reflect her resolute defence of David and defiance of Saul's death threats in "No, no let the guilty tremble" — regained determination, line, crisp diction and heartfelt emotion, all found from within the dancing rhythms of Handel's music and Jennen's text.
In the title role — always one dependent on strong recitative singing with so few actual airs to display one's gifts — Gidon Saks is a worthy choice and his obvious experience in making words count shines through, although I'm not sure he quite "carries" the true spirit of this unhappy king in an expressive sense. One gets the feeling of rage, and jealousy, but not so much of his decline into mental disorder in the face of the irrational powers driving him from within. He also tends to sing the music line by line, rather than making sense of the poetry — phrases just don't flow naturally and there are odd pauses between words where there should not be. Because of this tendency, I have to admit to preferring the Saul of, for instance, either Neal Davies or Alistair Miles.
Three impressive young singers shine brightly in the remaining lesser, but always dramatically important, six roles of High Priest and Witch (Michael Slattery), Doeg and Samuel (Henry Waddington), and the Amalekite and Abner (Finnur Bjarnason). Of the three, Michael Slattery makes the biggest impression, if only for the sheer dramatic range of his singing. Not all will approve of his almost pantomime-witch portrayal of Saul's medium to Samuel — his suave and robust tenor of the High Priest is contorted into a lisping, almost falsetto simpering sound which may be a step too far for some although it certainly worked in context for me. In contrast, the bass-baritone of Henry Waddington is steadily consistent and he sings Samuel's doom-laden air of retribution to the despairing king with appropriate gravitas and textual awareness. The deaths of Saul and his son are foretold with a gentle decrescendo, all the more chilling in its subtlety, on the final words "The Lord hath said it: He will make it good."
So, we have another excellent modern recording of Handel's "Saul" under the always intelligent and responsive direction of Rene Jacobs, even if it doesn't quite — by virtue of some variable vocal solo work — manage to establish a new benchmark for this most dramatic of oratorios.
© Sue Loder 2005