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With Schoenberg, I tend to take every opportunity I can — at least since my first visit to the Salzburg Festival, when understandably I chose to see Figaro over Boulez conducting Moses und Aron, though I have rued the loss ever since.
As the Britten centenary events draw to a close, the Birmingham Royal Ballet are offering one final highlight: a new version of Britten’s only ballet, The Prince of the Pagodas, with choreography by David Bintley.
Nashville Opera Artistic Director John Hoomes set the opera as Violetta’s dying dream, so colors and other aspects of the backgrounds were symbolic and bright.
Will wonders never cease? Wheat stalks 6 meters high? Rats 2 meters tall. Setting Donizetti’s little comedy amidst biological mutations engendered by Chernobyl does seem a bit farfetched.
Handel’s great opus, Rodelinda, at English National Opera on
Friday night was the latest in the Coliseum’s recent run of new and
co-produced productions, and also renowned director Peter Jones’ latest foray
into the world of opera.
On Sunday afternoon, February 23, 2014, San Diego Opera presented The Elixir of Love in a traditional production by Stephen Lawless.
Billy Budd, portrayed by handsome lyric tenor Liam Bonner, is a charismatic embodiment of innocence.
This was in almost every respect an excellent performance — which therefore exacerbates the problem lying at the heart, or whatever it is that lies in its place, of the work itself.
Bilbao is always news, Calixto Bieito is always news, Carmen with a good cast is always news. So here is the news.
French mistresses are much in the news these days, and now the Théâtre du Capitole’s new production of Donizetti’s La Favorite has added considerable fuel to the fire.
In a 1960 BBC interview, Britten explained to Lord Harewood: ‘I was very much influenced by [W.H.] Auden
Michael Tippett’s opera King Priam premiered as part of the
same arts festival in Coventry for which Britten’s War Requiem was
written and in fact the two works have something in common, dealing with the
issues of war and its consequences.
In Lyric Opera of Chicago’s recent performances of Johann Strauss’s
Die Fledermaus several debuts are notable to both American and Chicago
One wonders if it wasn’t rather risky of ENO to stage a new version of Rigoletto when Jonathan Miller’s ‘mafioso’ production, which served the company so well for a quarter of a century, is still fresh in opera-goers’ minds and hearts?
Its soothing wooden walls gently bathed in aquamarine light, the very modern Hall at King’s Place made a surprisingly fitting venue for a musical journey to the intimate Elizabethan chamber.
A handsome new production, beautifully staged in Marseille’s fine old opera house cried out for a cast to make the opera bel canto.
Harry Bicket and the English Concert brought Handel's wonderful late oratorio Theodora to the Barbican on Saturday 8 February 2014 after a Tour in America and now taking in Birmingham, London and Paris.
Opera in the British Isles might seem a rather sparse subject in the period 1875 to 1918. Notoriously described as the land without music, even the revival of the native tradition of composers did not include a strong vein of opera.
It is not often that a Aaron Copland's The Tender Land comes along with resources like those of the Opéra de Lyon, one of Europe's finest. So carpe diem!
Kasper Holten’s new production of Don Giovanni at the Royal Opera
House risks laying the house’s Director of Opera open to charges of
antiquated mores and misogyny: for he seems to suggest that the women are just
as bad, if not worse, than their seducer — and that a soulful man who seeks
genuine love is likely to find his ‘ideal beloved’ forever out of reach.
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.