Subscribe to
Opera Today

Receive articles and news via RSS feeds or email subscription.


twitter_logo[1].gif



9780521746472.png

0810888688.gif

0810882728.gif

Recently in Reviews

Will Don Quichotte Be the Last Production at San Diego Opera?

This quotation from Cervantes was displayed before the opening of the opera’s final scene:

“The greatest madness a man can commit in this life is to let himself die, just like that, without anybody killing him or any other hands ending his life except those of melancholy.”

Gound Faust - Calleja and Terfel, Royal Opera House London

Gounod's Faust makes a much welcomed return to the Royal Opera House. With each new cast, the dynamic changes as the balance between singers shifts and brings out new insights. In that sense, every revival is an opportunity to revisit from new perspectives. This time Bryn Terfel sang Méphistophélès, with Joseph Calleja as Faust - stars whose allure certainly helped fill the hall to capacity. And the audience enjoyed a very good show.

Syracuse Opera’s Porgy and Bess
Got Plenty O’ Plenty

The company ends its 2013-14 season on a high note with a staged performance of Gershwin’s theatrical masterpiece

A New Rusalka in Chicago

Lyric Opera of Chicago’s new production of Antonin Dvorak’s Rusalka is visually impressive and fulfills all possible expectations musically with unquestioned excitement.

Karlsruhe’s Mixed Blessing Ballo

The reliable Badisches Staatstheater has assembled plenty of talent for its new Un Ballo in Maschera.

Louise Alder, Wigmore Hall

This varied, demanding programme indisputably marked soprano Louise Alder as a name to watch.

Luke Bedford: Through His Teeth, Linbury, Royal Opera House

Can this be the best British opera in years? Luke Bedford’s Through His Teeth at the Royal Opera House’s Linbury Theatre is exceptional. Drop everything and go.

Powder Her Face, ENO

As one descends the steel steps into the cavernous bunker of Ambika P3, one seems about to enter rather insalubrious realms — just right one might imagine, then, for an opera which delves into the depths of the seedier side of celebrity life.

Iphigénie Fascinates in the Pfalz

Kaiserslautern’s Pfalztheater has produced a tantalizing realization of Gluck’s Iphigénie en Aulide, characterized by intriguing staging, appealing designs, and best of all, superlative musical standards.

ROH presents Cavalli’s L’Ormindo at the Sam Wanamaker Playhouse, London

Never thought I’d say it but......

Harrison Birtwistle, Elliott Carter, Wigmore Hall, London

Celebrating the 80th birthday of one of the UK's greatest composers (if not the greatest), this concert was an intriguing, and not always stimulating, mix. Birtwistle with Carter makes sense, but Birtwistle with Adams does not - or at least only within the remit of the concert series. The concert was actually entitled “Nash Inventions: American and British Masterworks, including an 80th Birthday Tribute to Sir Harrison Birtwistle” and was the final concert in the “Inventions” series.

Requiem for a Lost Opera Company

On Wednesday, March 19, 2014, General Director Ian Campbell of San Diego Opera announced that the company would go out of business at the end of this season. The next day the company performed their long-planned Verdi Requiem with a stellar cast including soprano Krassimira Stoyanova, mezzo-soprano Stephanie Blythe, tenor Piotr Beczala, and bass Ferruccio Furlanetto.

The Met’s Werther a tasty mix of singing, staging, acting and orchestral splendor

Visual elements in Richard Eyre’s striking production offset Massenet’s melodic shortcomings

Chicago’s New Barber of Seville

New productions of repertoire staples such as Gioachino Rossini’s Il Barbiere di Siviglia bear much anticipation for both performers and staging.

Lucia in LA: A Performance to Remember

On March 15, 2014, Los Angeles Opera presented Elkhanah Pulitzer’s production of the opera, which she set in 1885 when women were beginning to be recognized as persons separate from their fathers, brothers and husbands. At that time many European countries were beginning to allow women to own property, obtain higher education, and choose their husbands.

San Diego Opera Presents an All Star Ballo in Maschera

On March 11, 2014, San Diego Opera presented Verdi’s A Masked Ball in a traditional production by Leslie Koenig. Metropolitan Opera star tenor Piotr Beczala was Gustav III, the king of Sweden, and Krassimira Stoyanova gave an insightful portrayal of Amelia, his troubled but innocent love interest.

Anne Schwanewilms, Wigmore Hall

From the moment she walked, resplendent in red, onto the Wigmore Hall platform, Anne Schwanewilms radiated a captivating presence — one that kept the audience enthralled throughout this magnificent programme of Romantic song.

Die Frau ohne Schatten, Royal Opera

Magnificent! Following the first night of this new production of Die Frau ohne Schatten, I quipped that I could forgive an opera house anything for musical performance at this level, whether orchestral, vocal, or, in this case, both.

La Fille du regiment, Royal Opera

Donizetti’s opera comique La Fille du regiment returned to the Royal Opera House, Covent Garden, for its third revival.

Schoenberg and company

With Schoenberg, I tend to take every opportunity I can — at least since my first visit to the Salzburg Festival, when understandably I chose to see Figaro over Boulez conducting Moses und Aron, though I have rued the loss ever since.

OPERA TODAY ARCHIVES »

Reviews

J. S. Bach: Cantatas for the Third and Fourth Sundays after Easter
26 Oct 2005

BACH: Cantatas, vol. 18

Here we have another part of John Eliot Gardiner’s remarkable Bach Cantata Pilgrimage, undertaken to perform—and record live—all of Bach’s surviving church cantatas at many different churches in a single year.

J. S. Bach: Cantatas for the Third and Fourth Sundays after Easter

Brigitte Geller, William Towers, Mark Padmore, Julian Clarkson, Robin Tyson, James Gilchrist, Stephen Varcoe, Monteverdi Choir, English Baroque Soloists, John Eliot Gardiner (cond.)

Soli Deo Gloria SDG 107 [2CDs]

 

This volume contains 6 cantatas, 3 each for the third and fourth Sundays after Easter. Despite the unimaginable number of difficulties in coordinating the series (differing pitch of various organs, very limited rehearsal time, changes in personnel, travel arrangements for some 40 musicians and a crew of other people) that such a project entails, this disc ranks in quality with the finest in modern Baroque performances.

From the titles of the cantatas for Jubilate Sunday, the first group of three, we might gather that the works provide a lugubrious mood: Weinen, Klagen, Sorgen, Zagen (Weeping, Wailing, Fretting, Fearing), BWV 12; Ihr werdet weinen und heulen (Ye shall weep and lament), BWV 103; and Wir müssen durch viel Trübsal in das Reich Gottes eingehen (We must through much tribulation enter into the kingdom of God), BWV 146. (As the reader may note, Richard Stokes’s English translations, provided in the accompanying booklet, can be quite inelegant, even though they were not devised to match the German text syllable for syllable so that they could be sung without altering the music.)

The mournful feeling is reflected in the first two numbers of BWV 12: a sinfonia with a slow, plaintive, and beautifully played oboe solo (are there ever slow, non-plaintive oboe solos?), followed by a choral movement that Bach later adapted for the Crucifixus of the Mass in B minor to portray the crucifixion and death of Jesus on the cross. Gardiner terms each of the first four words “a heart-rending sob” that may be thought of in connection with the “four hammer blows nailing Christ’s flesh to the wood of the cross.” The image takes on credibility when one realizes that the corresponding syllables in the Mass are Cru-ci-fi-xus, He was crucified.

The words of the alto recitative that follows, Wir müssen durch viel Trübsal from Acts 14:22, would later find their way into the title and opening chorus of BWV 146. The mood brightens considerably in successive arias for bass and tenor, both with a trumpet obbligato playing the melody of the Jesu, meine Freude (Jesus, my delight), and the closing chorale is positively joyful: Was Gott tut, das ist wohlgetan (What God does is well done).

The Cantata BWV 103 follows a somewhat similar trajectory: weeping, lamentation, and transgression are the subjects of the first three movements, although Bach plays a little trick on listeners. The opening orchestral introduction sounds quite jolly, but when the solo voices enter, we realize that “the festive instrumental theme represents not the disciples’ joy at Christ’s resurrection but the skeptics’ riotous laughter at their discomfort” (Gardiner). Then an alto recitative begins to turn things around, trusting “that my sadness shall be turned into joy”; a rapturous tenor aria declares that Jesus will reappear; and the happy and uplifting chorale at the end of the work is a verse from Was mein Gott will, das g’scheh’ allzeit (What my God wants, that will always happen), stating that brief pain shall turn to joy.

Finally, in the third cantata for Jubilate, BWV 146, we hear an opening sinfonia that sounds suspiciously like the first movement of the D minor Harpsichord Concerto (BWV 1052a) with an organ playing the solo part. Well, that is exactly what it is, and the opening chorus that follows, Weinen, Klagen, equals the second movement of the concerto with added choral parts. The now-familiar turn to happier matters occurs more gradually through the middle movements, and the cantata ends with a verse from the chorale Werde munter, mein Gemüte (Become enlivened, my spirit).

Disc 2 of this set includes three works composed for Cantate Sunday, the fourth Sunday after Easter, including Wo gehest du hin? (Whither goest thou), BWV 166; Es ist euch gut, daß ich hingehe (It is expedient[!] for you that I go away), BWV 108; and Sei Lob und Ehr dem höchsten Gut (Give laud and praise to the highest good), BWV 117. I will let the listener enjoy the disc without comment, except to point out a single cut: the dramatic and sensitive performance of the closing chorale of BWV 166, Wer weiß, wie nahe mir mein Ende (Who knows how near my end is). It is Gardiner and his group at their very best.


Michael Ochs

Send to a friend

Send a link to this article to a friend with an optional message.

Friend's Email Address: (required)

Your Email Address: (required)

Message (optional):