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On March 24, 2017, Los Angeles Opera revived its co-production of Jacques Offenbach’s The Tales of Hoffmann which has also been seen at the Mariinsky Opera in Leningrad and the Washington National Opera in the District of Columbia.
Ermonela Jaho is fast becoming a favourite of Covent Garden audiences, following her acclaimed appearances in the House as Mimì, Manon and Suor Angelica, and on the evidence of this terrific performance as Puccini’s Japanese ingénue, Cio-Cio-San, it’s easy to understand why. Taking the title role in the first of two casts for this fifth revival of Moshe Leiser’s and Patrice Caurier’s 2003 production of Madame Butterfly, Jaho was every inch the love-sick 15-year-old: innocent, fresh, vulnerable, her hope unfaltering, her heart unwavering.
Calliope Tsoupaki’s latest opera, Fortress Europe, premiered
as spring began taming the winter storms in the Mediterranean.
To celebrate its 40th anniversary New Sussex Opera has set itself the challenge of bringing together the six scenes - sometimes described as six discrete ‘tone poems’ - which form Delius’s A Village Romeo and Juliet into a coherent musico-dramatic narrative.
Following highly successful UK premières of Salieri’s Falstaff (in 2003) and Trofonio’s Cave (2015), this summer Bampton Classical Opera will present the first UK performances since the late 18th century of arguably his most popular success: the bitter comedy of marital feuding, The School of Jealousy (La scuola de’ gelosi). The production will be designed and directed by Jeremy Gray and conducted by Anthony Kraus from Opera North. The English translation will be by Gilly French and Jeremy Gray. The cast includes Nathalie Chalkley (soprano), Thomas Herford (tenor) and five singers making their Bampton débuts:, Rhiannon Llewellyn (soprano), Kate Howden (mezzo-soprano), Alessandro Fisher (tenor), Matthew Sprange (baritone) and Samuel Pantcheff (baritone). Alessandro was the joint winner of the Kathleen Ferrier Competition 2016.
Reflections on former visits to Opera Holland Park usually bring to mind late evening sunshine, peacocks, Japanese gardens, the occasional chilly gust in the pavilion and an overriding summer optimism, not to mention committed performances and strong musical and dramatic values.
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.
07 Aug 2005
The Cambridge Companion to Stravinsky
The Cambridge Companion to Stravinsky joins more than a dozen similar volumes published by the Cambridge University Press over the years and devoted to the life and works of a single composer. Each one traditionally is a collection of essays by leading scholars in the field, organized into three main sections — biography; works (mostly by genre); reception and posthumous legacy.
Predictably, however, just like the composer in question, this Companion is much too complex to fit comfortably into the mold. The reader will immediately note the seemingly disproportionate amount of space dedicated to the issue of reception: six of fourteen articles are placed in that section of the volume, with many essays from the other two sections veering frequently in the same direction. Indeed, as Christopher Butler's and Arnold Whittall's essays in the opening section illustrate, contributions to this collection inevitably represent conflicting trends in Stravinsky criticism. In "Stravinsky as Modernist," Butler casts the composer in his traditional role as a "conservative modernist" as opposed to Arnold Schoenberg's "progressive avant-garde." Meanwhile, Whittall, in a rather unfortunately titled "Stravinsky in Context" (now there's a title that means everything and nothing!), often contradicts his colleague while discussing many stylistic and compositional parallels between Stravinsky and Schoenberg. Commissioned separately, the essays do not engage each other's arguments. Instead, the authors polemicize — vehemently at times — with Richard Taruskin, whose distinct, distinguished shadow has loomed large over the Stravinsky discourse ever since the 1996 publication of his comprehensive two-volume Stravinsky and the Russian Traditions. Indeed, several essays in this Companion are heavily indebted to Taruskin's work. This includes Rosamund Bartlett's opening article "Stravinsky's Russian Origins," the only truly biographical essay in the volume. But while Bartlett's fascinating account of the artistic life in early 20th-century Russia is well worth the reader's attention, I hesitate to make the same claim for the two "Russian" essays in Part 2 of the collection, Anthony Pople's "Early Stravinsky" and Kenneth Gloag's "Russian Rites: Petrushka, The Rite of Spring, Les Noces." While both authors make a point of summarizing the views of other scholars, such as Pieter van den Toorn and Stephen Walsh, as well as bringing their own perspectives to the table, the number of Taruskin references in Pople's account in particular is at times so overwhelming that one feels a strong desire to abandon the Companion altogether and run back to the original.
Thankfully, that feeling disappears as the reader progresses through the volume and away from the "origins." Martha M. Hyde's insightful essay "Stravinsky's Neoclassicism" explores the complex notions of engagement with time, past and present, imitation, anachronism, and the relationship between neoclassicism and post-modern pastiche. Opera lovers will be delighted to see a significant portion of the article devoted to the analysis of The Rake's Progress, in its textual and musical dialogue with Goethe's Faust. Music for — broadly defined — theater is also the subject of the editor, Jonathan Cross's contribution to the volume, "Stravinsky's Theaters," in which he discusses the aspects of "high" and "low" in the composer's various staged projects. One of the most valuable contributions to the volume, in my opinion, is Joseph Straus's wonderful overview "Stravinsky the Serialist"; but a word of caution — the author's detailed analysis of specific passages may prove prohibitive for the uninitiated.
Two of six "reception" essays in the Companion also include analysis of excerpts from Stravinsky's serial compositions. In a part of his "Stravinsky and Us" (to be discussed below), Richard Taruskin offers an alternative (or perhaps a complementary) view of Stravinsky's journey into serialism to the one outlined in Straus's article through the textual analysis of the Cantata. Meanwhile, Craig Ayrey, in "Stravinsky in Analysis: The Anglophone Traditions," traces and critiques the analytical approaches to Stravinsky's music used in the English-speaking world by applying them to the Lacrimosa section of the Requiem Canticles. Unlike Taruskin's, and even more so than Straus's essay, Ayrey's contribution is dense with formulas, and thus not recommended for amateurs or the faint of heart.
To the contrary, Nicholas Cook's delightful essay titled "Stravinsky conducts Stravinsky" is a must equally for a scholar, performer, and intelligent listener. Cook examines the composer's attitude toward the value of interpretation in performance, and poses questions on the relative significance of the composer's own conducting for discerning his intentions by pointing out important interpretive deviations in his successive recordings of the Rite of Spring. The essay also includes astute observations about the connections between Stravinsky's "new objectivity" and the issues of "authenticity" in contemporary performance practice. For a different kind of contemporary practice, Jonathan Cross's interview with Louis Andriessen titled "Composing with Stravinsky" addresses Stravinsky's influence on this Dutch composer, as well as on other composers today, an influence — it is asserted — that is still in its early stages. The interview is a worthy read; the only drawback perhaps is that the discourse all too frequently abandons its supposed subject matter and focuses on Adriessen's career instead.
Two articles in the Companion address the most classic issue in Stravinsky reception — criticism. Stuart Campbell's essay "Stravinsky and the Critics" provides an overview of the composer's relationship with his critics throughout his long career, and elucidates the role played by these critics (including the fellow expatriates and composer colleagues) in disseminating his works and ideas. Max Paddison's "Stravinsky as Devil: Adorno's Three Critiques" discusses the complexities, contradictions, internal motivations, and a gradual evolution of Theodore Adorno's Stravinsky critiques, from the late 1920s through the early 1960s.
Overall, The Cambridge Companion to Stravinsky should wear the label "use with caution." While a specialist student of Stravinsky would find in it much fascinating and useful material, the collection would not serve as a good general introduction to the composer's life and works. The reason for this, primarily, is the absence of a continuous narrative or even a coherent argument — in a word, a single point of view. It is a pity that the format of a Cambridge Companion does not provide for an in-depth editorial introduction — beyond, that is, the four sentences available on the opening page. Without it, the diversity of angles and the sharpness of arguments may distract and confuse a reader not easily familiar with the daily fads of Stravinskian discourse. In a stroke of editorial ingenuity, Taruskin's "Stravinsky and Us" serves as a conclusion to the volume. This essay's main focus is unraveling a variety of self-constructed and posthumously imposed "Stravinsky" mythologies that engender our daily engagement with the phenomenon of this composer and his music. To an extent, the controversies and contradictions that fill the current Companion themselves provide a telling illustration of the enduring power of the myths, and the eternal pleasure we musicologists derive from endlessly perpetuating them.
University of Missouri-Columbia