Recently in Performances
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?
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.
For its latest production of the current season Lyric Opera of Chicago is presenting Franz Lehár’s The Merry Widow (Die lustige Witwe) featuring Renée Fleming /Nicole Cabell as the widow Hanna Glawari and Thomas Hampson as Count Danilo Danilovich.
13 Oct 2005
Anna Christy in Recital
OMAHA — Having first heard Anna Christy a few years ago in the title role of Lucia di Lammermoor, she clearly had a bright future ahead of her. On Tuesday, this opinion was not only reaffirmed, but it is now manifest that this lovely and elegant soprano is well on her way to becoming one of the great coloraturas of the 21st Century.
The first half of her recital was devoted to German lieder. She began with a set of three familiar works by Schubert: “Die Forelle,” “Du bist die Ruh” and “Heidenroeslein.” She approached these with appropriate restraint, emphasizing the text, phrasing and vocal placement.
This was followed by Schubert’s trio, “Der Hirt auf dem Felsen,” op. 129, for soprano, piano and clarinet. One of Schubert’s last works, this piece fluctuates from the heights of ecstasy to the depths of despair, ostensibly expressing Schubert’s thoughts of his own mortality. The musicians performed with near abandon, reaching a crescendo at “Je weiter meine Stimme dringt, je weiter die Stimme dringt, je heller, je heller sie wieder klingt” (“The further my voice penetrates, the further the voice penetrates, the lighter, the more brightly it sounds again”), which called for stunning vocal gymnastics.
The first half closed with five of the six lieder from op. 68 (the so-called “Brentano Lieder”) by Richard Strauss. Devilishly difficult, these pieces required perfect intonation, control and placement, all of which Christy performed with seeming ease. The last of this set, “Amor,” portrayed Christy’s coquettish side, a fitting preview of her upcoming performance of Zerbinetta (Ariadne auf Naxos) at La Scala later this season.
The second half was devoted to American music. Premiered by Eleanor Steber and more recently championed by the likes of Dawn Upshaw, Barber’s “Knoxville Summer of 1915,” op. 24, has become a standard amongst American singers. When performed with piano accompaniment, the range of stylistic choices made by Barber is starkly revealed, which demonstrates Barber’s lyrical best to percussive rhythms àla Prokofiev or Bartok. The challenges to the performers are daunting. As throughout the recital, Christy performed with precision as to phrasing and dynamics. Her tone was at all times focused, bright and ringing. Well done.
Christy then concluded the second half with two works by William Bolcom — “Amor” from volume 1 of his Cabaret Songs and “Muffin’s aria” from his opera, A Wedding, which she premiered at the Chicago Lyric. As with the Strauss, “Amor” showed her as the classic femme fatale. “Muffin’s aria,” on the other hand, showed her introspective side.
She segued from “Muffin’s Aria” to her encore, Puccini’s “O mio babbino caro” (Gianni Schicchi), by explaining that she recently married in Italy and planned to sing this on the bridge in Florence but “chickened out.” In a word, marvelous.
Christy was accompanied by pianist Kelly Kuo and, in "Der Hirt auf dem Felsen," by clarinetist John Klinghammer. Kuo was a true musical partner throughout the program. And, Klinghammer performed his role with aplomb.
At all times, Christy appeared at ease, as if she were in her natural element. While recitals do not call for dramatic action, it is clear that she is a singing actress of the first order.