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Most opera professionals, including the individuals who do the casting for
major houses, despair of finding performers who can match historical standards
of singing in operas such as Aïda. Yet a concert performance in Aspen
gives a glimmer of hope. It was led by four younger singers who may be part of
the future of Verdi singing in America and the world.
One might have been forgiven for thinking that both biology and chronology had gone askew at the Royal Albert Hall yesterday evening.
Three years ago I made what may have been my single worst decision in a half
century of attending opera. I wasn’t paying close attention when some
conference organizers in Aix-en-Provence offered me two tickets to the premiere
of a new opera. I opted instead for what seemed like a sure thing:
William Christie conducting some Charpentier.
The 36th Rossini Opera Festival in Rossini’s Pesaro! La gazza ladra (1817), La gazzetta (1816) and L'inganno felice (1812) — the little opera that made Rossini famous.
Unlike the brush fire in a distant neighborhood of the John Crosby Theatre, Santa Fe Opera’s Salome stubbornly failed to ignite.
As part of a concerted effort to incorporate local color and resonance into its annual festival, Glimmerglass has re-imagined The Magic Flute in a transformative woodland setting.
Bravura singing and vibrant instrumental playing were on ample display in Glimmerglass Festival’s riveting Cato in Utica.
Bernstein’s Candide seems to have more performance versions than Tales of Hoffmann.
That’s The Conquest of Mexico, an historical music drama composed in 1991 by German composer Wolfgang Rihm (b. 1952). But wait. Wolfgang Rihm construed a few sentences of Artaud’s La Conquête du Mexique (1932) mixed up with bits of Aztec chant and bits of poem(s) by Mexico’s Octavio Paz (d. 1998) to make a libretto.
Glimmerglass is celebrating its 40th Festival season with a stylish new production of Verdi’s Macbeth.
This Salzburg Norma is not new news. This superb production was first seen at the Salzburg Festival’s springtime Whitsun Festival in 2013 with this same cast. It will now travel to a few major European cities.
John Eliot Gardiner conducted a much anticipated performance of Monteverdi’s first opera L’Orfeo at the BBC Proms on 4 August 2015, with his own Monteverdi Choir and English Baroque Soloists.
On August 1, 2015, Santa Fe Opera presented the world premiere of Cold Mountain, a brand new opera composed by Pulizer Prize and Grammy winner Jennifer Higdon.
Richard Taruskin entitled his 1988 polemical critique of the notion of ‘authenticity’ in the context of historically informed performance, ‘The Pastness of the Present and the Presence of the Past’.
Puccini’s Manon Lescaut at the Bayerische Staatsoper, Munich. Some will scream in rage but in its austerity it reaches to the heart of the opera.
It might seem churlish to complain about the BBC Proms coverage of Pierre
Boulez’s 90th anniversary. After all, there are a few performances
dotted around — although some seem rather oddly programmed, as if embarrassed
at the presence of new or newish music. (That could certainly not be claimed in
the present case.)
I recently spent four days in St. Petersburg, timed to coincide with the
annual Stars of the White Nights Festival. Yet the most memorable singing I
heard was neither at the Mariinsky Theater nor any other performance hall. It
was in the small, nearly empty church built for the last Tsar, Nicholas II, at
As I walked up Exhibition Road on my way to the Royal Albert Hall, I passed a busking tuba player whose fairground ditties were enlivened by bursts of flame which shot skyward from the bell of his instrument, to the amusement and bemusement of a rapidly gathering pavement audience.
A brilliant theatrical event, bringing Handel’s theatre of the mind to
life on stage
‘Here, thanks be to God, my opera is praised to the skies and there is nothing in it which does not please greatly.’ So wrote Antonio Vivaldi to Marchese Guido Bentivoglio d’Aragona in Ferrara in 1737.
26 Sep 2005
Arvo Pärt: A Tribute
Paul Hillier has written the book on Arvo Pärt, quite literally. He has spent significant time with the Estonian composer interviewing him, working with him, and studying his music. He has not only authored the only text researching Pärt's music and background, but Hillier also seems to one of the first to perform and record his music, thereby exposing it to the general public.
Arvo Pärt: A Tribute, was released in celebration of Arvo Pärt's 70th birthday on September 11, 2005. This compilation disc offers an exquisite retrospective of the composer’s choral music. Nearly all of Pärt's choral music comes from his second period, in the now familiar tintinnabuli style and with sacred texts. Despite the technique's strict rigidity, the sustaining of a single triad throughout the work, the works on this recording represent great variety. Over the past thirty years or so Pärt has expanded his emotional palette by varying the textures of tintinnabuli.
The second track, the Women With The Alabaster Box, evokes the cold artic north of the Baltic. The sound is hollow and stark with wide voicings and slow moving tempo and harmonic motion. In a complete contrast the short Bogoroditse Djevo, the Eastern Orthodox Ave Maria, is light and quick. This joyous setting is Russian in style with a thick but bright harmonic texture. Pärt also achieves great warmth in his setting of I am the True Vine. The harmonic progressions are rich and sonorous and even include occasional, vague melodic ideas in the soprano. The piece with the densest and fullest sound is the fabulous Which Was The Son Of... . The frequently repeated words “which was the son of” are set with great variety from pulsing incantation to strong declamation. Driving rhythmic patterns build up to large full climactic cluster chords and ultimately a beautiful resolution at the final cadence at “God.”
As a compilation, this disc includes three choirs all led by Paul Hillier. There is also variety in the performances because of the nature of the choirs. The Estonian Chamber Choir has quickly risen in the public eye as one of the leading European Choirs. Their singing is robust yet clean, virtuosic yet subtle, and extremely passionate. The Theater of Voices, Hillier's regular ensemble, carries the bulk of the CD with beautiful clarity. A smaller group, their sound is quite refined and clear with precise intonation and uniformity across all parts. Joining them on three tracks is the Pro Arte Singers, bulking their numbers, but maintaining the exquisite sound.
The liner notes provide a little background to Pärt's music, the tintinnabuli style, and the text and origin of each work. But it is the music and the performance that sets this recording apart from many contemporary choral releases. Hillier's scholarship and artistry bring out the subtlety and passion in Pärt's music with honesty and integrity. Hillier notes in the liner booklet that “Arvo Pårt's music is now famous.” What he humbly fails to mention, is that in large part it is due to him.