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If Strauss’s operas of the 1920s receive far too little performing attention, especially in the Anglosphere, those of the 1930s seem to fare worse still.
The 67th edition of the prestigious Festival d’Aix-en-Provence opened on July 2 with an explosive production of Handel’s Alcina followed the next night by an explosive production of Mozart’s Die Entführung aus dem Serail.
O/MODƏRNT is Swedish for ‘un/modern’. It is also the name of the festival — curated by artistic director Hugo Ticciati and held
annually since 2011 at the Ulriksdal’s Palace Theatre, Confidencen — which aims to look back and celebrate the past ‘by
exploring the relationships between the work of old composers and the artistic and intellectual creations of modern culture’.
Matthias Goerne and Menahem Pressler at the Wigmore Hall, London, an intriguing recital on many levels. Goerne programmes are always imaginative, bringing out new perspectives, enhancing our appreciation of the depth and intelligence that makes Lieder such a rewarding experience. Menahem Pressler is extremely experienced as a soloist and chamber musician, but hasn't really ventured into song to the extent that other pianists, like Brendel, Eschenbach or Richter, for starters. He's not the first name that springs to mind as Lieder accompanist. Therein lay the pleasure !
It is twenty-three years since Rossini’s opera of cultural oppression, inspiring heroism and tender pathos was last seen on the Covent Garden stage, but this eagerly awaited new production of Guillaume Tell by Italian director Damiano Micheletto will be remembered more for the audience outrage and vociferous mid-performance booing that it provoked — the most persistent and strident that I have heard in this house — than for its dramatic, visual or musical impact.
With its outrageous staging demands, you sometimes wonder why opera companies want to produce Verdi’s Aida. But the piece is about far more than pharaohs, pyramids and camels.
Given the enduring resonance and impact of the magnificent visual aesthetic of Visconti’s 1971 film of Thomas Mann’s novella, opera directors might be forgiven for concluding that Britten’s Death in Venice does not warrant experimentation with period and design, and for playing safe with Edwardian elegance, sweeping Venetian vistas and stylised seascapes.
If La Rondine (The Swallow) is a less-admired work than rest of the mature Puccini canon, you wouldn’t have known it by the lavish production now lovingly staged by Opera Theatre of Saint Louis.
Few companies have championed new or neglected works quite as fervently and consistently as the industrious Opera Theatre of Saint Louis.
For Opera Theatre of Saint Louis, “everything old is new again.”
Why would an American opera company devote its resources to the premiere of an opera by an Italian composer? Furthermore a parochially Italian story?
Berlioz’ Les Troyens is in two massive parts — La prise de Troy and Troyens à Carthage.
On Saturday evening June 13, 2015, Los Angeles Opera presented Dog Days, a new opera with music by David T. Little and a text by Royce Vavrek. In the opera adopted from a story of the same name by Judy Budnitz, thirteen-year-old Lisa tells of her family’s mental and physical disintegration resulting from the ravages of a horrendous war.
Audiences at the Teatro alla Scala in Milan first saw Madama Butterfly on February 17, 1904. It was not the success it is these days, and Puccini revised it before its scheduled performances in Brescia.
Opera Philadelphia is a very well-managed opera company with a great vision. Every year it presents a number of well-known “warhorse” operas, usually in the venerable Academy of Music, and a few more adventurous productions, usually in a chamber opera format suited to the smaller Pearlman Theater.
Written in 1783, Giovanni Paisiello’s Il Barbiere di Siviglia reigned for three decades as one of Europe’s most popular operas, before being overshadowed forever by Rossini’s classic work.
The Princeton Festival has established a reputation for high-quality summer opera. In recent years works by Handel, Britten, Rachmaninoff, Stravinsky, Wagner and Gershwin have been performed at Matthews Theater on Princeton University campus: a 1100-seat auditorium with good sight-lines though a somewhat dry and uneven acoustic.
Die Entführung aus dem Serail was Mozart’s ﬁrst great public success in Vienna, and it became the composer’s most oft performed opera during his lifetime.
The Ensemble for the Romantic Century offered a thoughtful and well-curated evening in their production of The Sorrows of Young Werther, which is part theatrical performance and part art song concert.
This was an adventurous double bill of two ‘quasi-operas’ by Hans Werner Henze, performed by young singers who are studying on the postgraduate Opera Course at the Guildhall School of Music and Drama.
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