Subscribe to
Opera Today

Receive articles and news via RSS feeds or email subscription.


twitter_logo[1].gif



9780521746472.png

0810888688.gif

0810882728.gif

Recently in Reviews

Anna Caterina Antonacci, Wigmore Hall, London

Presenting a well-structured and characterful programme, Italian soprano Anna Caterina Antonacci demonstrated her prowess in both soprano and mezzo repertoire in this Wigmore Hall recital, performing European works from the early years of the twentieth century. Assuredly accompanied by her regular pianist Donald Sulzen, Antonacci was self-composed and calm of manner, but also evinced a warmly engaging stage presence throughout.

Il barbiere di Siviglia, Royal Opera

Bold, bright and brash, Moshe Leiser and Patrice Caurier’s Il barbiere di Siviglia tells its story clearly in complementary primary colours.

Gluck and Bertoni at Bampton

Bampton Classical Opera’s 2014 double bill neatly balanced drollery and gravity. Rectifying the apparent prevailing indifference to the 300th centenary of Christoph Willibald Gluck birth, Bampton offered a sharp, witty production of the composer’s Il Parnaso confuso, pairing this ‘festa teatrale’ with Ferdinando Bertoni’s more sombre Orfeo.

Purcell: A Retrospective

Harry Christophers and The Sixteen Choir and Orchestra launched the Wigmore Hall’s two-year series, ‘Purcell: A Retrospective’, in splendid style. Flexibility, buoyancy and transparency were the watchwords.

Mahler: Symphony no.3 — Prom 73

It would be unfair, but one could summarise this concert with the words, ‘Senator, you’re no Leonard Bernstein.’

Los Angeles Opera Opens with La traviata

On September 13, Los Angeles Opera opened its 2014-2015 season with a revival of Marta Domingo’s updated, Art Deco staging of Giuseppe Verdi’s La traviata. It starred Nino Machaidze as Violetta, Arturo Chácon-Cruz as Alfredo, and Plácido Domingo as Giorgio Germont. The conductor was Music Director James Conlon.

Stars of Lyric Opera at Millennium Park, 2014

In its annual concert previewing the forthcoming season Lyric Opera of Chicago presented its “Stars of Lyric Opera at Millennium Park” during the past weekend to a large audience of enthusiastic listeners.

Susannah in San Francisco

Come to think of it the 1950‘s were operatically rich years in America compared to other decades in the recent past. Just now the San Francisco Opera laid bare an example, Carlisle Floyd’s Susannah.

Xerxes, ENO

Nicholas Hytner’s production of Handel’s Xerxes (Serse) at English National Opera (ENO) is nearly 30 years old, and is the oldest production in ENO’s stable.

San Diego Opera Opens 2014-2015 Season

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.

Otello at ENO

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.

Anna Nicole, back with a bang!

It is now three and a half years since Anna Nicole was unleashed on the world at the Royal Opera House, Covent Garden.

Norma in San Francisco

It was a Druid orgy that overtook the War Memorial. Magnificent singing, revelatory conducting, off-the-wall staging (a compliment, sort of).

Joyce DiDonato starts Wigmore Hall new season

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.

Aida at Aspendos Opera and Ballet Festival

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.

St Matthew Passion, Prom 66

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.

Glimmerglass: Butterfly Leads the Pack

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.

Operalia, the World Opera Competition, Showcases 2014 Winners

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.

Elektra at Prom 59

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.

Powerful Mahler Symphony no 2 Harding, BBC Proms London

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.

OPERA TODAY ARCHIVES »

Reviews

Carl Nielsen: Maskarade
05 Aug 2005

NIELSEN: Maskarade

From the start of its lively and distinctive overture Carl Nielsen's 1906 comic masterpiece Maskarade calls for a light and ironic approach, yet one which brings the ensemble forward with sufficient directorial force.

Carl Nielsen: Maskarade

Ib Hansen, baritone; Gurli Plesner, contralto; Tonny Landy, tenor; Mogens Schmidt-Johansen, baritone; Christian Sorensen, tenor; Gert Bastian, bass-baritone; Edith Brodersen, soprano; Tove Hyldgaard, soprano; Jorgen Klint, bass; Ove Verner Hansen, bass; Aage Haugland, bass; Danish National Radio Choir; Danish National Symphony Orchestra; John Frandsen, conductor.

DaCapo 6.220507-08 [2 SACDs]

 

The Danish National Symphony Orchestra's recording of Maskarade succeeds admirably in striking a careful balance between these ideals. The present DaCapo SACD is an enhanced reissue of a 1977 presentation of Nielsen's opera. In addition to the model recording the essays and performance data in the generous booklet invite further study and appreciation of this acknowledged favorite among Danish operas. Performances of Maskarade during the 2005 Bregenz festival suggest a renewed interest and reappraisal of this work for the musical stage. Despite a perceived unevenness by some of music supporting the dramatic action, the current performances have emphasized the strengths of Nielsen's work.

The three acts of Maskarade are joined by a dramatic unity underscored through temporal designations in the text. On a single day in 1723 Leander, the son of Copenhagen's citizen Jeronimus, tells of his adventures at the masquerade ball on the previous night. Contrary to his father's wishes that he marry the daughter of Leonard, Leander declares his love for a young woman whom he met at the masquerade. He balks at his father's insistence and resents both the diatribe and proscription of future participation. Those taking sides for and against the masquerade are divided into two camps, with most at least secretly yearning to attend. The next two acts take place later on the same evening (II) and then during the masquerade that night (III). After its resolution of plots and disguises for the ball, it is finally revealed that Leander's love is actually the daughter of Leonard, and that he simply had not earlier apprehended her identity.

The integration of music and plot in Maskarade is especially evident in the present recording. Under John Frandsen the Danish National Symphony Orchestra emphasizes carefully Nielsen's striking compositional patterns for orchestra and for accompanied voice. In the overture, the modulation between larger repeating themes and lighter dance rhythms is attentively observed as here played. The repeated themes are then - in part - identified with emotions and characters' situations, whereas dance motifs are associated with the integration of the masquerade into human lives. The overture closes on an increasing diminuendo, ending thus on the softest chords. Such a subdued conclusion highlights at the opening of this drama the sleepy pair of Leander and his servant Henrik, who had both spent the previous night until all hours at the ball. The roles of young gentleman and manservant are given convincing portrayals here by Tonny Landy and Mogens Schmidt Johansen respectively. In their singing and acting, especially in interchanges during all three acts, both men create the character-types of the love-struck young hero and his clever valet who manipulates from behind the scene. Johansen, the baritone servant, holds forth convincingly by imitating the voices of those who would complicate his master's life, while Landy basks in a moody reverie of nascent infatuation. Neither singer relies on cliche to achieve characterization but rather preserves a distinct individuality of portrayal. This same approach can be appreciated in other members of the ensemble as well. Leander's mother Magdelone, aware of his nocturnal escapades, enters the room early and begs to know if she might still attend the masquerade as she had in her youth. In the role of Magdelone the contralto Gurli Plesner delivers a lesson in singing and dramatic representation, as she courses through various melodic styles to describe what had been her adolescent skill at dance. Frivolity in this small group ends abruptly with the stark appearance of Leander's father, Jeronimus, sung in this recording with appropriate bluster and irritability by the established baritone Ib Hansen. Arguments, counter-plots, and denial figure among the characters who alternate in duets and larger ensembles. In response to a condemnation of the masquerade as morally tainted, Henrik defends the entertainment as benevolent and having socially egalitarian properties. As Jeronimus gives orders for his son to be guarded at home so that he might marry Leonard's daughter on the following day, we sense that Henrik will devise a ruse to spirit him out of the house and off to the alternate world of the masquerade.

In contrast to the appropriately lively and harried tone of the overture to Act I, the orchestral prelude to the second act is taken as softly lyrical under Frandsen's direction. Here the emphasis on romantic and dreamy nocturnal sentiments functions as a transition to the later excitement of the dance and masquerade that will dominate much of Act III. In that final part of the opera the Danish National Symphony Orchestra resumes its concisely spirited playing in its approach to the well-known "Dance of the Cockerels." Between these orchestral pieces the interplay of romance and humor follows a tight pattern: when Leander and Leonora meet again, they declare their love alongside numerous comical attempts to enhance or to thwart their relationship. The role of Leonora, appearing first in Act II, is given a clear lyrical focus by Edith Brodersen, whose mutual song of romance with Tonny Landy recurs melodically with haunting polish later in the scene. In keeping with Henrik's assertion of social equality in the masquerade, he too is paired in the ensemble with Leonora's maid Pernille, here performed with soubrette brilliance by Tove Hyldgaard. By the close of the opera the misunderstandings and mistaken identities caused by disguise are resolved to the good of those involved, just as the lead romance is allowed to prosper outside the masquerade. Henrik's claim for the benevolence of the institution remains untouched.

The predominantly Scandinavian and German cast in this recording performs the declaimed and spoken parts of the text with natural idiomatic clarity. It is to be hoped that the re-issue of this performance will contribute to a greater familiarity in the operatic community with Nielsen's masterpiece.

Salvatore Calomino
Madison, Wisconsin

Send to a friend

Send a link to this article to a friend with an optional message.

Friend's Email Address: (required)

Your Email Address: (required)

Message (optional):