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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.
On 9 January 2017 the London Festival of Baroque Music (formerly the Lufthansa Festival of Baroque Music) announced its programme for 2017. The Festival theme for 2017 is Baroque at the Edge. Inspired by the anniversaries of Monteverdi (450th of birth) and Telemann (250th of death) the Festival explores the ways that composers and performers have pushed at the chronological, stylistic, geographical and expressive boundaries of the Baroque era.
On Thursday 19th January, opera lovers around the world started bidding online for rare and prized items made available for the first time from Opera Rara’s collection. In addition to the 26 lots auctioned online, 6 more items will be made available on 7 February - when online bidding closes - at Opera Rara’s gala dinner marking the final night of the auction. The gala will be held at London’s Caledonian Club and will feature guest appearances from Michael Spyres and Joyce El-Khoury.
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.
In 2015, Bampton Classical Opera’s production of Salieri’s La grotta di Trofonio - a UK premiere - received well-deserved accolades: ‘a revelation ... the music is magnificent’ (Seen and Heard International), ‘giddily exciting, propelled by wit, charm and bags of joy’ (The Spectator), ‘lively, inventive ... a joy from start to finish’ (The Oxford Times), ‘They have done Salieri proud’ (The Arts Desk) and ‘an enthusiastic performance of riotously spirited music’ (Opera Britannia) were just some of the superlative compliments festooned by the critical press.
How many singers does it take to make an opera? There are single-role operas - Schönberg’s Erwartung (1924) and Eight Songs for a Mad King by Peter Maxwell Davies (1969) spring immediately to mind - and there are operas that just require a pair of performers, such as Rimsky-Korsakov’s Mozart i Salieri (1897) or The Telephone by Menotti (1947).
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.
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.