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Bernard Haitink’s monumental Bruckner and Mahler performances with
the Royal Concertgebouw Orchestra (RCO) got me hooked on classical music.
His legendary performance of Bruckner’s Symphony No. 8 in
C-minor, where in the Finale loosened plaster fell from the
Concertgebouw ceiling, is still recounted in Amsterdam.
Karita Mattila was born to sing Emilia Marty, the diva around whom revolves Leoš Janáček's The Makropulos Affair (Věc Makropulos). At Prom 45, she shone all the more because she was conducted by Jirí Belohlávek and performed alongside a superb cast from the National Theatre, Prague, probably the finest and most idiomatic exponents of this repertoire.
‘Two outrageous operas in one crazy evening,’ reads the bill. Hyperbole? Certainly not when the operas are two of Jacques Offenbach’s more off-the-wall bouffoneries and when the company is Opera della Luna whose artistic director, Jeff Clarke, is blessed with the comic imagination and theatrical nous to turn even the most vacuous trivia into a sharp and sassy riotous romp.
This performance of Britten's A Midsummer Night's Dream at Glyndebourne was so good that it was the highlight of the whole season, making the term ‘revival’ utterly irrelevant. Jakub Hrůša is always stimulating, but on this occasion, his conducting was so inspired that I found myself closing my eyes in order to concentrate on what he revealed in Britten's quirky but brilliant score. Eyes closed in this famous production by Peter Hall, first seen in 1981?
A staged piano recital and an opera as a concert. Pianist András Schiff accompanied the Salzburg Marionette Theater at the Mozarteum Grosser Saal and Anna Netrebko sang Manon Lescaut at the Grosses Festspielhaus.
On August 4, 2016, soprano Leah Crocetto and accompanist Tamara Sanikidze gave a recital at the Scottish Rite Center in Santa Fe New Mexico. A winner of the Metropolitan Opera Auditions and the BBC Cardiff Singer of the World Contest, this year Crocetto was singing Donna Anna in Santa Fe Opera’s excellent Don Giovanni.
On July 31, 2016, against the ethereal beauty of the main hall in the Scottish Rite Center, soprano Angela Meade and pianist Joe Illick gave a recital offering both opera and art songs ranging in origin from early nineteenth century Europe to mid twentieth century America. Many in the audience probably remembered Meade’s recent excellent portrayal of Norma at Los Angeles Opera.
When more is definitely more, and less would indeed be less. Two of the biggest names in Italian theater art collide in an eponymous theater.
It was the fifth Proms Chamber Music concert at Cadogan Hall this season, and we were celebrating Shakespeare’s 400th. And, given the extent and range of the composers and artists, and the diversity and profundity of the musical achievement inspired by the Bard, we could probably keep celebrating in this fashion ad infinitum.
Each August the bleak and leaky, 12,000 seat Arena Adriatica (home of the famed Pesaro basketball team) magically transforms itself into an improvised opera house that boasts the ultimate in opera chic — exemplary Rossini production standards for its now twelve hundred seats.
This highly enjoyable Prom, part of 2016’s ‘Proms at
’ mini-series, took as its guiding concept the reopening of London’s theatres following the Restoration, focusing in particular upon musical and dramatic responses to Shakespeare. Purcell, rightly, loomed large, with John Blow and Matthew Locke joining him. Receiving their Proms premieres were the excerpts from Timon of Athens and those from Locke’s The Tempest.
With all the bombast of the presidential campaigns rattling in our heads, with invectives being exchanged and measured discussion all but absent, how utterly lovely to retreat and relax into the harmonious soundscape and well-reasoned debate posed in Strauss’ Capriccio, on magnificent display at Santa Fe Opera.
When we entered the Crosby Theatre for Gounod’s Roméo et Juliette the stage was surprisingly dominated by a somber, semi-circular black mausoleum, many chambers inscribed with scrambled names of US Civil War era dead.
Molten passions were seething just below the icy Nordic exterior of Santa Fe
Opera’s wholly masterful production of Barber’s Vanessa.
Farce is probably the most difficult of dramatic comedy sub-genres to put across. A farce got up in the stately robes of opera sets its presenters an even higher bar. Presenting an operatic farce on a notoriously chilly and cavernous auditorium is to risk catastrophe.
Fan interest began raging when Santa Fe Opera engaged venerable artist Patricia Racette to make her role debut as Minnie in Puccini’s La Fanciulla del West.
A funny thing happened on the way to Andalusia.
The tale of a Syrian donkey driver. And, yes, the donkey stole the show! The competition was intense — the Vienna Philharmonic and the Grosses Festspielhaus in full production regalia for starters.
Two men, one woman. Both men worshipped and enshrined her in their music. The younger man was both devotee of and rival to the elder.
This Cosi fan tutte concludes the Salzburg Festival's current Mozart / DaPonte cycle staged by Sven-Eric Bechtolf, the festival's head of artistic planning.
22 Sep 2005
SCHOENBERG: Accentus | Ensemble intercontemporain
Schoenberg, born in Vienna in 1874, is remembered as a composer and a music theorist. He held strong attitudes toward the craft of composition and its pedagogy, which have been received as the beginnings of a theory of music, though Schoenberg denied ever attempting to create a systematic theory.
Schoenberg believed that music had an evolutional history that included the development and perfection of tonal systems in the eighteenth and nineteenth centuries.
Schoenberg deeply respected tonal music and he trained his composition pupils thoroughly in tonality and traditional counterpoint; however, he viewed the increasing use of chromaticism and non-diatonic chords in the later nineteenth century as a teleological process leading to the necessary—if uncomfortable—abandonment of tonality in the twentieth century. The pieces on this album illustrate Schoenberg’s compositional development and his strange position as both conservative and herald of “the music of the future.”
Two powerhouse ensembles specializing in modernist music performance joined together on this album. The result of this collaboration is an outstanding collection of some of Arnold Schoenberg’s lesser-known pieces along with better-known classics from his oeuvre. Ensemble Intercontemporain—a group of 31 soloists—has been an institution since its founding in 1976 by Pierre Boulez. And, in 1991, Laurence Equilbey brought together 32 professional singers to form the choir Accentus. Equilbey’s primary goal was the revival of an a capella choir tradition, and his group tackles a largely modernist repertoire. In addition to a capella performances, Accentus collaborates with instrumental groups in order to perform and record mixed ensemble pieces, and this is not the first time they’ve worked with Ensemble Intercontemporain.
Particularly exceptional about this recording is the inclusion of two versions of Schoenberg’s choral work, Frieden Auf Erden. Track 1 is the version with the orchestral accompaniment that Schoenberg write in 1911 because the original a capella version was declared “unperformable.” Time and many performances have proven that Frieden Auf Erden is indeed performable, though I think rarely with such grace and confidence as displayed by Accentus on this recording.
Also of note is a transcription of the third movement of Schoenberg’s Five Pieces for Orchetra by Franck Krawczyk completed in 2002. According to the liner notes, Krawczyk was motivated to do this transcription by the Second Viennese School’s practice of doing transcriptions in order to “shed light” on someone else’s musical composition. What Krawczyk and Accentus accomplish is an extraordinary piece of music.
Nestled among the less frequently performed choral works is the Schoenberg Kammersymphonie, opus 9 (1906) performed by Ensemble Intercontemporain. Although this piece is available on other high-quality recordings, its inclusion adds variety and interest to this assortment of pieces.
Schoenberg’s music was met with great resistance and little understanding from critics and audiences. At the end of his life, having been exiled from the very country whose music he had hoped to progress and forced to teach lower-level courses to UCLA undergraduates, it is probably fair to say that Schoenberg was disillusioned by the future of music in general, and his music in particular.
While popular opinion may have it that Schoenberg brought ruin to classical music with his “emancipation of the dissonance,” sensitive and smart performances like those by Accentus and Ensemble Intercontemporain prove that Schoenberg’s output contains more than just theoretical pieces; rather, his music is rich, varied, and emotionally compelling as well as intellectually challenging.
CUNY – The Graduate Center