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Opera Philadelphia deserves congratulations on yet another coup. The company
co-commissioned Cold Mountain, an opera by Jennifer Higdon based on
Gene Scheer’s adaptation of Charles Frazier’s celebrated Civil War
For their first of two recitals at the Wigmore Hall, Christian Gerhaher and Gerold Huber devised an interesting programme - popular Schubert mixed with songs by Wolfgang Rihm and by Huber himself.
There are not many opera productions that you would cross oceans to see. Graham
Vick’s Götterdämmerung in Sicily however compelled such a voyage.
Premièred in 1877 at Offenbach’s own Théâtre des Bouffes Parisiens, Emmanuel Chabrier’s L’Étoile has a libretto, by Eugène Leterrier and Albert Vanloo, which stirs the blackly comic, the farcical and the bizarre into a surreal melange, blending contemporary satire with the frankly outlandish.
Robert Ashley’s opera-novel Quicksand makes for a novel
One of the leading Russian composers of his generation, Alexander
Raskatov’s reputation in the UK and western Europe derives from several,
recent large-scale compositions, such as his reconstruction of Alfred
Schnittke’s Ninth Symphony from a barely legible manuscript (the work was
first performed in 2007 in the Dresden Frauenkirche by the Dresden Philharmonic
under Dennis Russell Davies), and his 2010 opera A Dog’s Heart,
based on Mikhail Bulgakov’s satire (which was directed by Simon McBurney
at English National Opera in 2010, following the opera’s premiere at
Netherlands Opera earlier that year).
I’m not sure that St John’s Smith Square was the most
appropriate venue for Opera Danube’s latest production: Jacques
Offenbach’s satirical frolic, Orpheus in the Underworld.
This nasty little opera evening in Lyon lived up to the opera’s initial reputation as pure pornophony. This is the erotic Shostakovich of the D minor cello sonata, it is the sarcastic and complicated Shostakovich of The Nose . . .
During December 2015 and presently in January Lyric Opera of Chicago has featured the world premiere of the opera Bel Canto, with music by Jimmy López and libretto by Nilo Cruz, based on the novel by Ann Patchett.
Christmas at the Royal Opera House is all about magic, mystery and miracles: as represented by the conjuror’s exploits in The Nutcracker — with its Kingdom of Sweets and Sugar Plum Fairy — or, as in the Linbury Theatre this year, the fantastical adventures of the Firework-Maker’s Daughter, Lila, and her companions — a lovesick elephant, swashbuckling pirates, tropical beasts and Fire-Fiends.
The title role is a deciding factor in Madama Butterfly. Despite a
last-minute conductor cancellation, last Saturday’s concert performance
at the Concertgebouw was a resounding success, thanks to Lianna
Haroutounian’s opulent, heart-stealing Cio-Cio-San.
With this performance of vocal and instrumental works composed by the
10-year-old Mozart and his contemporaries during 1766, Classical Opera entered
the second year of their 27-year project, MOZART 250, which is
designed to ‘contextualise the development and influences of [sic] the
composer’s artistic personality’ and, more audaciously, to
‘follow the path that subsequently led to some of the greatest
cornerstones of our civilisation’.
Luca Pisaroni and Wolfram Rieger were due to give the latest installment in the Wigmore Hall's complete Schubert songs series, but both had to cancel at short notice. Fortunately, the Wigmore Hall rises to such contingencies, and gave us Benjamin Appl and Jonathan Ware. Since there's a huge buzz about Appl, this was an opportunity to hear more of what he can do.
The phrase ‘Sunday afternoon concert’ may suggest light, post-prandial entertainment, but soprano Gemma Lois Summerfield and her accompanist, Simon Lepper, swept away any such conceptions in this demanding programme at St. John’s Smith Square.
When, o when, will someone put Peter Sellars and his compendium of clichés
out of our misery?
This recording, made in the Adrian Boult Hall at the Birmingham Conservatoire of Music in June 2014, is the fourth disc in SOMM’s series of recordings with Paul Spicer and the Birmingham Conservatoire Chamber Choir.
Having recently followed some by-ways through the music of Purcell, Monteverdi and Cavalli, L’Arpeggiata turned the spotlight on traditional folk music in this characteristically vibrant and high-spirited performance at the Wigmore Hall.
Edward Gardner brought all his experience as a choral and opera conductor to bear in this stirring performance of Michael Tippett’s A Child of Our Time at the Barbican Hall, with a fine cast of soloists, the BBC Symphony Orchestra and BBC Symphony Chorus.
‘Apt for voices or viols’: eager to maximise sales among the domestic market in Elizabethan England, publishers emphasised that the music contained in collections such as Thomas Morley’s First Book of Madrigals to Four Voices of 1594 was suitable for performance by any combination of singers and players.
It was a single title but a double bill and there was far more happening than Gordon Getty and Claude Debussy. Starting with Edgar Allen Poe.
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