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Opera Philadelphia deserves congratulations on yet another coup. The company
co-commissioned Cold Mountain, an opera by Jennifer Higdon based on
Gene Scheer’s adaptation of Charles Frazier’s celebrated Civil War
For their first of two recitals at the Wigmore Hall, Christian Gerhaher and Gerold Huber devised an interesting programme - popular Schubert mixed with songs by Wolfgang Rihm and by Huber himself.
There are not many opera productions that you would cross oceans to see. Graham
Vick’s Götterdämmerung in Sicily however compelled such a voyage.
Premièred in 1877 at Offenbach’s own Théâtre des Bouffes Parisiens, Emmanuel Chabrier’s L’Étoile has a libretto, by Eugène Leterrier and Albert Vanloo, which stirs the blackly comic, the farcical and the bizarre into a surreal melange, blending contemporary satire with the frankly outlandish.
Robert Ashley’s opera-novel Quicksand makes for a novel
One of the leading Russian composers of his generation, Alexander
Raskatov’s reputation in the UK and western Europe derives from several,
recent large-scale compositions, such as his reconstruction of Alfred
Schnittke’s Ninth Symphony from a barely legible manuscript (the work was
first performed in 2007 in the Dresden Frauenkirche by the Dresden Philharmonic
under Dennis Russell Davies), and his 2010 opera A Dog’s Heart,
based on Mikhail Bulgakov’s satire (which was directed by Simon McBurney
at English National Opera in 2010, following the opera’s premiere at
Netherlands Opera earlier that year).
I’m not sure that St John’s Smith Square was the most
appropriate venue for Opera Danube’s latest production: Jacques
Offenbach’s satirical frolic, Orpheus in the Underworld.
This nasty little opera evening in Lyon lived up to the opera’s initial reputation as pure pornophony. This is the erotic Shostakovich of the D minor cello sonata, it is the sarcastic and complicated Shostakovich of The Nose . . .
During December 2015 and presently in January Lyric Opera of Chicago has featured the world premiere of the opera Bel Canto, with music by Jimmy López and libretto by Nilo Cruz, based on the novel by Ann Patchett.
Christmas at the Royal Opera House is all about magic, mystery and miracles: as represented by the conjuror’s exploits in The Nutcracker — with its Kingdom of Sweets and Sugar Plum Fairy — or, as in the Linbury Theatre this year, the fantastical adventures of the Firework-Maker’s Daughter, Lila, and her companions — a lovesick elephant, swashbuckling pirates, tropical beasts and Fire-Fiends.
The title role is a deciding factor in Madama Butterfly. Despite a
last-minute conductor cancellation, last Saturday’s concert performance
at the Concertgebouw was a resounding success, thanks to Lianna
Haroutounian’s opulent, heart-stealing Cio-Cio-San.
With this performance of vocal and instrumental works composed by the
10-year-old Mozart and his contemporaries during 1766, Classical Opera entered
the second year of their 27-year project, MOZART 250, which is
designed to ‘contextualise the development and influences of [sic] the
composer’s artistic personality’ and, more audaciously, to
‘follow the path that subsequently led to some of the greatest
cornerstones of our civilisation’.
Luca Pisaroni and Wolfram Rieger were due to give the latest installment in the Wigmore Hall's complete Schubert songs series, but both had to cancel at short notice. Fortunately, the Wigmore Hall rises to such contingencies, and gave us Benjamin Appl and Jonathan Ware. Since there's a huge buzz about Appl, this was an opportunity to hear more of what he can do.
The phrase ‘Sunday afternoon concert’ may suggest light, post-prandial entertainment, but soprano Gemma Lois Summerfield and her accompanist, Simon Lepper, swept away any such conceptions in this demanding programme at St. John’s Smith Square.
When, o when, will someone put Peter Sellars and his compendium of clichés
out of our misery?
This recording, made in the Adrian Boult Hall at the Birmingham Conservatoire of Music in June 2014, is the fourth disc in SOMM’s series of recordings with Paul Spicer and the Birmingham Conservatoire Chamber Choir.
Having recently followed some by-ways through the music of Purcell, Monteverdi and Cavalli, L’Arpeggiata turned the spotlight on traditional folk music in this characteristically vibrant and high-spirited performance at the Wigmore Hall.
Edward Gardner brought all his experience as a choral and opera conductor to bear in this stirring performance of Michael Tippett’s A Child of Our Time at the Barbican Hall, with a fine cast of soloists, the BBC Symphony Orchestra and BBC Symphony Chorus.
‘Apt for voices or viols’: eager to maximise sales among the domestic market in Elizabethan England, publishers emphasised that the music contained in collections such as Thomas Morley’s First Book of Madrigals to Four Voices of 1594 was suitable for performance by any combination of singers and players.
It was a single title but a double bill and there was far more happening than Gordon Getty and Claude Debussy. Starting with Edgar Allen Poe.
05 Aug 2005
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.
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.