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This may be the twelfth revival of Jonathan Miller’s 1987 production of Rossini’s The Barber of Seville for English National Opera, but the ready laughter from the auditorium and the fresh musical and dramatic responses from the stage suggest that it will continue to amuse audiences and serve the house well for some time to come.
The third and final instalment of the Academy of Ancient Music’s survey of Monteverdi’s operas at the Barbican began and ended in darkness; the red glow of the single candle was an apt visual frame for a performance which was dedicated to the memory of the late Andrew Porter, the music critic and writer whose learned, pertinent and eloquent words did so much to restore Monteverdi, Cavalli and other neglected music-dramatists to the operatic stage.
English Touring Opera’s recent programming has been ambitious and inventive, and the results have been rewarding. We had two little-known Donizetti operas, The Siege of Calais and The Wild Man of the West Indies, in spring 2015, while autumn 2014 saw the company stage comedy by Haydn (Il mondo della luna) and romantic history by Handel (Ottone).
Sounds swirl with an urgent emotionality and meandering virtuosity on Jonas Kaufmann’s new Puccini album—the “real one”, according
to Kaufmann, whose works were also released earlier this year on Decca records, allegedly without his approval.
LA Opera got its season off to an auspicious beginning with starry revivals
of Gianni Schicchi and Pagliacci.
On September 9, 2015, Opera Las Vegas presented James Sohre’s production of Viva Verdi at the Smith Center’s Cabaret Jazz. It was a delightful evening of arias, duets and ensembles by Giuseppe Verdi (1813-1901). The program included many of the composer’s blockbuster arias and scenes from famous operas such as Aida, La traviata, and Macbeth.
On Saturday, September 19, San Diego Opera opened its 2015-2016 season with a recital by tenor René Barbera. This was the first Polly Puterbaugh Emerging Artist Award Recital and no artist could have been more deserving than the immensely talented Barbera.
The Wigmore Hall, London, has launched Schubert : The Complete Songs, a 40-concert series to run through the 2015 and 2016 seasons. There have been Schubert marathons before, like BBC Radio 3's all-Schubert week and The Oxford Lieder Festival's Schubert series last year, but the Wigmore Hall series will be a major landmark because the Wigmore Hall is the Wigmore Hall, the epitome of excellence.
Marion Cotillard and Marc Soustrot bring the drama to the sweeping score of Arthur Honegger’s Jeanne d’Arc au
bûcher, an adaptation of the Trial of Joan of Arc
Luisa Miller sits on the fringes of the repertory, and since its introduction into the modern repertory in the 1970’s it comes around every 15 or so years. Unfortunately this 2015 San Francisco occasion has not bothered to rethink this remarkable opera.
Demonised by Pushkin and Peter Shaffer, Antonio Salieri lives in the public
imagination as the embittered rival of Wolfgang Amadeus Mozart — whose genius
he lamented and revered in equal measure, and against whom he schemed and
plotted at the Emperor Joseph II’s Viennese court.
The annual concert given by Lyric Opera of Chicago as an outdoor event previewing the forthcoming season took place on 11 September 2015 at Millennium Park.
Stephen Paulus provided the musical world, and particularly the choral world, with music both provocative and pleasing through a combination of lyricism and a modern-Romantic tonal palette.
Orpheus — that Greek hero whose songs could enchant both deities and beasts, whose lyre has become a metaphor for the power of music itself, and whose journey to the Underworld to rescue his wife, Eurydice, kick-started the art of opera in Mantua in 1607 — has been travelling far and wide around the UK in 2015.
One is a quasi-verbatim rendering of J.M. Synge’s bleak tale of a Donegal
family’s fateful dependency on and submission to the deathly power of the
Is there anything that countertenor Iestyn Davies cannot do with his voice?
BBC Proms Youth Choir shines in a performance notable for its magical transparency
The John Wilson Orchestra have been annual summer visitors to the Royal Albert Hall since their Proms debut in 2009 and, with their seductive blend of technical precision, buoyant glitziness and relaxed insouciance, their concerts have become a hugely anticipated fixture and a sure highlight of the Promenade season.
Disappointing staging mars Alice Coote’s vibrant if wayward musical performance
Impresario Boris Goldovsky famously referred to La finta giardiniera as The Phony Farmerette.
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