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It is now three and a half years since Anna Nicole was unleashed on the world at the Royal Opera House, Covent Garden.
It was a Druid orgy that overtook the War Memorial. Magnificent singing, revelatory conducting, off-the-wall staging (a compliment, sort of).
There was a quasi-party atmosphere at the Wigmore Hall on Monday evening, when Joyce DiDonato and Antonio Pappano reprised the recital that had kicked off the Hall’s 2014-15 season with reported panache and vim two nights previously. It was standing room only, and although this was a repeat performance there certainly was no lack of freshness and spontaneity: both the American mezzo-soprano and her accompanist know how to communicate and entertain. And, if the second half of the programme - 20th-century American classics with the odd folky diversion - did feel a little like a prolonged encore (which was followed by three further suavely delivered numbers complete with mischievous banter and musical high-jinks), this did not lessen the musical and theatrical accomplishment or the evident delight of the Wigmore Hall audience, although I confess to feeling a bit of a sugar-rush
In strict architectural terms, the stupendous 2nd century Roman
theatre of Aspendos near Antalya in southern Turkey is not an arena or
amphitheatre at all, so there are not nearly as many ghosts of gored gladiators
or dismembered Christians to disturb the contemporary feng shui as in
other ancient loci of Imperial amusement.
Simon Rattle and the Berlin Philharmonic Orchestra brought their staging of Bach's St Matthew Passion to the BBC Proms at the Royal Albert Hall on Saturday, 6 September 2014.
Every so often an opera fan is treated to a minor miracle, a revelatory performance of a familiar favorite that immediately sweeps all other versions before it.
On August 30, Los Angeles Opera presented the finals concert of Plácido Domingo’s Operalia, the world opera competition. Founded in 1993, the contest endeavors to discover and help launch the careers of the most promising young opera singers of today. Thousands of applicants send in recordings from which forty singers are chosen to perform live in the city where the contest is being held. Last year it was Verona, Italy, this year Los Angeles, next year London.
The second day of the Richard Strauss weekend at the BBC Proms saw Richard
Strauss's Elektra performed at the Royal Albert Hall on 31 August 2014
by the BBC Symphony Orchestra, conducted by Semyon Bychkov, with Christine
Goerke in the title role.
Triumphant! An exceptionally stimulating Mahler Symphony No 2 from Daniel Harding and the Swedish Radio Symphony Orchestra, BBC Prom 57 at the Royal Albert Hall. Harding's Mahler Tenth performances (especially with the Berliner Philharmoniker) are pretty much the benchmark by which all other performances are assessed. Harding's Mahler Second is informed by such an intuitive insight into the whole traverse of the composer's work that, should he get around to doing all ten together, he'll fulfil the long-held dream of "One Grand Symphony", all ten symphonies understood as a coherent progression of developing ideas.
The BBC Proms continued its Richard Strauss celebrations with a performance of his first major operatic success Salome. Nina Stemme led forces from the Deutsche Oper, Berlin,at the Royal Albert Hall on Saturday 30 August 2014,the first of a remarkable pair of Proms which sees Salome and Elektra performed on successive evenings
On August 9, 2014, Santa Fe Opera presented a new updated production of Don Pasquale that set the action in the 1950s. Chantal Thomas’s Act I scenery showed the Don’s furnishing as somewhat worn and decidedly dowdy. Later, she literally turned the Don’s home upside down!
At a concert in the Cathedral of Saint Joseph in San Jose, California, on August 22, 2014, a few selections preceded the piece the audience had been waiting for: the world premiere of Dolora Zajick’s brand new composition, an opera scene entitled Roads to Zion.
This elegant, smartly-paced film turns Gluck’s Orfeo into a Dostoevskian study of a guilt-wracked misanthrope, portrayed by American countertenor Bejun Mehta.
Ossia Il barbiere di Siviglia. Why waste a good tune.
In light of the 2012 half-centenary of the premiere in the newly re-built Coventry Cathedral of Benjamin Britten’s War Requiem, the 2013 centennial celebrations of the composer’s own birth, and this year’s commemorations of the commencement of WW1, it is perhaps not surprising that the War Requiem - a work which was long in gestation and which might be seen as a summation of the composer’s musical, political and personal concerns - has been fairly frequently programmed of late. And, given the large, multifarious forces required, the potent juxtaposition of searing English poetry and liturgical Latin, and the profound resonances of the circumstances of the work’s commission and premiere, it would be hard to find a performance, as William Mann declared following the premiere, which was not a ‘momentous occasion’.
Both by default and by merit Il barbiere di Siviglia is the hit of the thirty-fifth Rossini Opera Festival. But did anyone really want, and did the world really need yet another production of this old warhorse?
Armida (1817) is the third of Rossini’s nine operas for the Teatro San Carlo in Naples, all serious. The first was Elisabetta, regina di Inghilterra (1815), the second was Otello (1816), the last was Zelmira (1822).
Santa Fe opera has presented Carmen in various productions since 1961. This year’s version by Stephen Lawless takes place during the recent past in Northern Mexico near the United States border. The performance on August 6, 2014, featured Ana Maria Martinez as a monumentally sexy Gypsy who was part of a drug smuggling group.
Sir Mark Elder and the Hallé Orchestra persuasively balanced passion and poetry in this absorbing Promenade concert. Elder’s tempi were fairly relaxed but the result was spaciousness rather than ponderousness, with phrases given breadth and substance, and rich orchestral colours permitted to make startling dramatic impact.
Although far from perfect, the performance of Berio’s Sinfonia in the first half of this concert was certainly its high-point; indeed, I rather wish that I had left at the interval, given the tedium induced by Shostakovich’s interminable Fourth Symphony. Still, such was the programme Semyon Bychkov had been intended to conduct. Alas, illness had forced him to withdraw, to be replaced at short notice by Vasily Petrenko.
25 Sep 2005
GLINKA: Ruslan and Lyudmila
Based on a tongue-in-cheek poem by young Alexander Pushkin, Mikhail Glinka’s second opera Ruslan and Lyudmila (1842) is an epic adventure tale, in which three rival Russian knights roam the land in search of a Kievan princess kidnapped by a sorcerer.
The opera, known to most Western listeners primarily through its showpiece overture, is one of the most brilliant creations of 19th-century Russian music. In five acts with a prolog, it is enormous and difficult, requiring high virtuosity from both singers and instrumentalists; the score also presents a host of problems for stage directors as it defies all attempts at realistic staging. Meanwhile, conductors face numerous textological conundrums caused by the divergences in the existing sources and the lack of an authorial manuscript, believed to have perished in a fire.
A new Bolshoi Theater recording of the opera, made live in 2003 and recently released by PentaTone Classics, may help to solve some mysteries of Glinka’s masterpiece. Conductor Alexander Vedernikov claims that his production represents “the original version” of the work recreated from the newly found authoritative copies of the lost manuscript. Fans of the opera should not expect major revelations, however: while there are several discrepancies in pitch and rhythm throughout the score, the sequence and content of the material is essentially intact. Indeed, if some music on this recording proves unrecognizable, it is the unfortunate consequence of the performance quality of the new production.
To start with the singers, the ladies generally did better than the men. Alexandra Durseneva’s voice is a deep, rich contralto, a little heavy for my taste, but just sexy enough for the Middle-Eastern exotica of her character, prince Ratmir. Maria Gavrilova is a lovely Gorislava; she is by far the best singer in the lineup, which makes one wish that the composer had given her more than a cameo role. Ekaterina Morozova as Lyudmila is more disappointing: her coloratura is clean and precise, but is suitable more for the Queen of the Night (her signature part) than for a warm-blooded Russian princess; this is particularly noticeable in her Act 4 aria. Still more disappointing is Lyudmila’s beloved, Ruslan; the voice of Taras Shtonda, particularly in the barely perceptible low register, is thoroughly uninspiring. Valery Gilmanov appears to have given up on the whirlwind tempi of Farlaf’s buffo part: the Vivace assai of the famously Rossini-esque Act 2 rondo barely qualifies as a Moderato, completely destroying the hilarious effects of the scene. Maxim Paster’s ringing tenor with steady yet sweet upper register is perfect for Bayan; Vitaly Panfilov’s Finn, however, while technically flawless, is painfully devoid of color. Indeed, several singers on the recording seem to have sacrificed both richness of timbre and richness of interpretation to the goal of precisely rendering the notes of the carefully restored score. One wonders if such an approach would win any converts to Glinka’s genius.
It is difficult to overestimate the tremendous importance of the chorus in Glinka’s epic. According to Vedernikov, the emphasis placed in his production on the chorus as an ever-present commentator led him to abandon the realistic costume drama for an oratorio-like “mystery” (the one with a more contemporary look, as evident from the CD cover art). Unfortunately, as I have already commented in an earlier review for this site, the Bolshoi Theater’s chorus is weak, and has trouble keeping both the pitch and the beat. The introduction and finale – scenes that require more volume than precision – are less affected by this, but the quality is disastrous, for instance, in the Act 2 scene of Ruslan with the giant Head – the character represented by the unison male choir that must be perfectly in sync to achieve the desired effect.
Last but not least, Glinka’s opera lives and dies by its orchestration: as Vedernikov points out, apart from the complex, delicate accompaniment, there are more than 40 minutes of purely instrumental music in Ruslan. The fiendishly difficult score presents an evidently insurmountable challenge to the Bolshoi orchestra, the weakest spot of that theater’s productions over the past few years. As a result, Glinka’s sparkling orchestra comes across as dull, colorless, heavy, and more than occasionally out of tune. The tempo of the brilliant overture is sluggish at best, and even in that tempo the musicians are struggling.
Overall, the new Ruslan and Lyudmila recording is of value for a performer in need of consulting an authoritative version of Glinka’s score without visiting the notoriously mysterious Moscow archives. The rest of us may be better off staying faithful to the Mariinsky recording, or even the vintage 1978 Bolshoi production with Nesterenko, which Melodiya recently re-released on CD. After all, as the conductor tells us, this work is first and foremost a musical masterpiece; it should be approached as such.
University of Missouri—Columbia