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“If I lacked ears, it would be bad, but still more bearable; but lacking a nose, a man is devil knows what: not a bird, not a citizen—just take and chuck him out the window!”
A fixation on death at San Francisco Opera. A 337 year-old woman gave it all up just now after only six years since she last gave it all up on the War Memorial stage.
Penny Woolcock's 2010 production of Bizet's The Pearl Fishers returned to English National Opera (ENO) for its second revival on 19 October 2018. Designed by Dick Bird (sets) and Kevin Pollard (costumes) the production remains as spectacular as ever, and ENO fielded a promising young cast with Claudia Boyle as Leila, Robert McPherson as Nadir and Jacques Imbrailo as Zurga, plus James Creswell as Nourabad, conducted by Roland Böer.
Francesco Cavalli’s La Calisto was the composer’s ﬁfteenth opera, and the ninth to a libretto by Giovanni Faustini (1615-1651). First performed at the Teatro Sant’Apollinaire in Venice on 28th November 1651, the opera by might have been sub-titled ‘Gods Behaving Badly’, so debauched are the deities’ dalliances and deviations, so egotistical their deceptions.
At the end of Shakespeare’s A Midsummer Night’s Dream, Theseus delivers a speech which returns to the play’s central themes: illusion, art and the creative imagination. The sceptical king dismisses ‘The poet’s vision - his ‘eye, in a fine frenzy rolling’ - which ‘gives to airy nothing/ A local habitation and a name’; such art, and theatre, is a psychological deception brought about by an excessive, uncontrolled imagination.
Following the success of previous ‘mini-festivals’ at St John’s Smith Square devoted to Schubert and Schumann, last weekend pianist Anna Tilbrook curated a three-day exploration of the work of Ralph Vaughan Williams and his contemporaries. The music performed in these six concerts was chosen to reflect the changing contexts in which it was composed and to reveal the vast changes in society, politics and culture which occurred during Vaughan Williams’ long life-time (1872-1958) and which shaped his life and creative output.
Trying to work around Manon Lescaut’s episodic structure,
this new production presents the plot as the dying protagonist’s feverish
hallucinations. The result is a frosty retelling of what is arguably
Puccini’s most hot-blooded opera. Musically, the performance also left
much to be desired.
It is Herodotus who tells us that when Xerxes was marching through Asia to invade Greece, he passed through the town of Kallatebos and saw by the roadside a magnificent plane-tree which, struck by its great beauty, he adorned with golden ornaments, and ordered that a man should remain beside the tree as its eternal guardian.
Poor Puccini. He is far too often treated as a ‘box-office hit’ by our ‘major’ opera houses, at least in Anglophone countries. For so consummate a musical dramatist, that is something beyond a pity. Here in London, one is far better advised to go to Holland Park for interesting, intelligent productions, although ENO’s offerings have often had something to be said for them.
With only four singers and a short-story-like plot Don Pasquale is an ideal chamber opera. That chamber just now was the 3200 seat War Memorial Opera House where this not always charming opera buffa is an infrequent visitor (post WWII twice in the 1980’s after twice in the 40’s).
“Yang sementara tak akan menahan bintang hilang di bimasakti; Yang
bergetar akan terhapus.” (“The transient cannot hold on to stars
lost in the Milky Way; that which quivers will be erased.”) As soprano
Tony Arnold sang these words of Tony Prabowo’s chamber opera
Pastoral, with astonishingly crisp Indonesian diction, the first night
of the second annual Momenta Festival approached its end.
Some operas seemed designed and destined to raise questions and debates - sometimes unanswerable and irresolvable, and often contentious. Termed a dramma giocoso, Mozart’s Don Giovanni has, historically, trodden a movable line between seria and buffa.
Péter Eötvös’ The Sirens Cycle received its world premiere at the Wigmore Hall, London, on Saturday night with Piia Komsi and the Calder Quartet. An exceptionally interesting new work, which even on first hearing intrigues: imagine studying the score! For The Sirens Cycle is elegantly structured, so intricate and so complex that it will no doubt reveal even greater riches the more familiar it becomes. It works so well because it combines the breadth of vision of an opera, yet is as concise as a chamber miniature. It's exquisite, and could take its place as one of Eötvös's finest works.
New from Oehms Classics, Walter Braunfels Orchestral Songs Vol 1. Luxury singers - Valentina Farcas, Klaus Florian Vogt and Michael Volle, with the Staatskapelle Weimar, conducted by Hansjörg Albrecht.
Manitoba Underground Opera took audiences on a journey — literally and
figuratively — as it presented its latest installment of repertory opera
between August 19–26.
On a recent weekend Lyric Opera of Chicago gave its annual concert at Millennium Park during which the coming season and its performers are variously showcased. Several of the performers, who were featured at this “Stars of Lyric Opera” event, are scheduled to make their debuts in Lyric Opera’s new production of Wagner’s Das Rheingold beginning on 1 October.
Desire and deception; Amor and artifice. In Jan Philipp Gloger’s new production of Così van tutte at the Royal Opera House, the artifice is of the theatrical, rather than the human, kind. And, an opera whose charm surely lies in its characters’ amiable artfulness seems more concerned to underline the depressing reality of our own deluded faith in human fidelity and integrity.
On September 22, 2016, Los Angeles Opera presented Darko Tresnjak’s production of Giuseppe Verdi’s opera Macbeth. Verdi and Francesco Maria Piave based their opera on Shakespeare’s play of the same name.
On September 18th, at a casual Sunday matinee, Pacific Opera Project presented a surprising choice for a small company. It was Igor Stravinsky’s 1951 three act opera, The Rake’s Progress. It’s a piece made for today's supertitles with its exquisitely worded libretto by W.H. Auden and Chester Kallman.
We are nearing the end of Classical Opera’s MOZART 250 sojourn through 1766, a year that the company’s artistic director Ian Page admits was ‘on face value
a relatively fallow year’. I’m not so sure: Jommelli’s Il Vogoleso, performed at the Cadogan Hall in April, was a gem. But, then, I did find the repertoire that Classical Opera offered at the Wigmore Hall in January, ‘worthy rather than truly engaging’ (review). And, this programme of Haydn and his Czech contemporary Josef Mysliveček was stylishly executed but did not absolutely convince.
26 Sep 2005
LIDERMAN: The Song of Songs
Now this is one beautiful piece of music, a setting of the text of the “Song of Songs,” taken from the Hebrew Bible by the composer Jorge Liderman. Liderman is Argentinian by birth, now on the composition faculty of the Department of Music at the University of California at Berkeley. His work shows a distinct ability at the craft of composition: this is a very attractively put together work.
The text is a new translation by Chana and Ariel Bloch. In their notes to the work, they remark how exceptional the text is in a Biblical context, principally by its erotic nature, a compelling evocation of love at times quite physical. By its eroticism, amid the stern Biblical passages that surround it, the “Song of Songs” is indeed exceptional. The tone of the text itself, however, is entirely Biblical, deeply passionate about its subject matter, the narration of a lovers’ tale in sensuous detail.
While there is some fine writing for voice, chorus, and for a small ensemble of instruments (including a rocketing line for piccolo that returns as a refrain), the way in which the piece is put together shows Liderman’s accomplishment as a composer. New ideas are introduced sparingly, and one has the impression of material reused and reworked so as to create an immediate sense of familiarity. Like a finely tailored suit, the work fits one’s sensibility immediately; the effect is of something quite familiar and yet refreshingly new. This is the hallmark of craft: unobtrusive and yet substantial, fresh but not grating or intrusive.
The work owes something to Stravinsky’s Les Noces, although it is nowhere like the hard scrabble of that most curious thing. The progress of the piece is a little like Stravinsky’s “ribbon of time”--the sense of being immersed in the narrative, as if one were looking on at a lovers’ tryst, almost but not quite to point of voyeurism (whereas in Noces one has the sense of having wandered into the wedding proceedings almost against one’s better judgement). This is the gift of opera, and it would behoove Bridge to give us something of Liderman’s operatic oeuvre, perhaps his award winning Antigona Furiousa from 1991.
The use of the various ensembles also resembles Noces : their juxtaposition, pleasantly surprising and subtle at times, adds to the spontaneity of the narrative. The soprano Elissa Johnston does fine work as the Shulamite; her lover, the tenor Charles Bland, is a little overshadowed by both her voice and the voluptuousness of her role. The Chamber Chorus of the University of California at Berkeley, under the direction of Marika Kuzma, and the San Francisco Contemporary Music Players, David Milnes conductor, round out the complement with some good work. Liderman’s writing for the chorus is particularly notable: unobtrusive but solid, it hovers above the proceedings, again a sign of fine operatic chorus writing.
Bridge Records, like Lovely Music (reviewed elsewhere on this site), has been around long enough to establish a reputation at the capable hands of Becky and David Starobin. Bridge and Lovely stand at the forefront of a host of small labels that give the term independent label an authentic and reputable meaning. Their website is www.BridgeRecords.com. The presence of funding from the Alice M. Ditson fund should be noted here: Ms. Ditson’s bequest, made over a half century ago now, has come in aid of a quite remarkable number of musical enterprises, invariably of good quality. Were the world peopled with a few more patron like Alice Ditson, new music and good musicology would be in a much better state than it is today.
The recording would make a wonderful gift to someone inclined toward good vocal music or with an interest in Biblical literature. The dissonant nature of the work, like everything else about it, is held in firm hand, and thus someone who is not an amateur of new music will find it agreeable none the less. Highly recomended.
University of Ottawa