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Wigmore Hall has announced the 25 young singer and pianist duos from around the world who have been shortlisted for this prestigious competition, which takes place at Wigmore Hall in September with the generous support of the Kohn Foundation. Details were announced on 27 April during a recital by Milan Siljanov, who won top prize in the 2015 Competition.
Garsington Opera's thrilling new commission for the 2017 Season, Silver Birch, will feature over 180 participants from the local community aged 8-80, including students from primary and secondary schools, members of the local military community, student Foley artists under the guidance of Pinewood Studios and members of Wycombe Women’s Aid.
Opera San Jose has capped a wholly winning season with an emotionally engaging, thrillingly sung, enticingly fresh rendition of Puccini’s immortal masterpiece La bohème.
On Saturday evening April 22, 2017, San Diego Opera presented Giuseppe Verdi’s La traviata at the Civic Theater. Director Marta Domingo updated the production from the constrictions of the nineteenth century to the freedom of the nineteen twenties. Violetta’s fellow courtesans and their dates wore fascinating outfits and, at one point, danced the Charleston to what looked like a jazz combo playing Verdi’s score.
Thomas Adès’s third opera, The Exterminating Angel, is a dizzying, sometimes frightening, palimpsest of texts (literary and cinematic) and music, in which ceaseless repetitions of the past - inexact, ever varying, but inescapably compulsive - stultify the present and deny progress into the future. Paradoxically, there is endless movement within a constricting stasis. The essential elements collide in a surreal Sartrean dystopia: beasts of the earth (live sheep and a simulacra of a bear) roam, a disembodied hand floats through the air, water spouts from the floor and a burning cello provides the flames upon which to roast the sacrificial lambs. No wonder that when the elderly Doctor tries to restore order through scientific rationalism he is told, “We don't want reason! We want to get out of here!”
Is A Dog’s Heart even an opera? It is sung by opera singers to live
music. Alexander Raskatov’s score, however, is secondary to the incredible
stage visuals. Whatever it is, actor/director Simon McBurney’s first stab at
opera is fantastic theatre. Its revival at Dutch National Opera, where it
premiered in 2010, is hugely welcome.
In May 2016, Opera Rara gave Bellini aficionados a treat when they gave a concert performance of Vincenzo Bellini’s first opera, Adelson e Salvini, at the Barbican Hall. The preceding week had been spent in the BBC’s Maida Vale Studios, and this recording, released last month, is a very welcome addition to Opera Rara’s bel canto catalogue.
Jonas Kaufmann Mahler Das Lied von der Erde is utterly unique but also works surprisingly well as a musical experience. This won't appeal to superficial listeners, but will reward those who take Mahler seriously enough to value the challenge of new perspectives.
Following Garsington Opera for All’s successful second year of free public screenings on beaches, river banks and parks in isolated coastal and rural communities, Handel’s sparkling masterpiece Semele will be screened in four areas across the UK in 2017. Free events are programmed for Skegness (1 July), Ramsgate (22 July), Bridgwater (29 July) and Grimsby (11 October).
I kept hearing from knowledgeable opera fanatics that the Israeli Opera (IO) in Tel Aviv was a surprising sure bet. So I made my way to the Homeland to hear how supposedly great the quality of opera was. And man, I was in for treat.
At Phoenix’s Symphony Hall on Friday evening April 7, Arizona Opera offered its final presentation of the 2016-2017 season, Gioachino Rossini’s Cinderella (La Cenerentola). The stars of the show were Daniela Mack as Cinderella, called Angelina in the opera, and Alek Shrader as Don Ramiro. Actually, Mack and Shrader are married couple who met singing these same roles at San Francisco Opera.
On Saturday evening April 1, 2017, Placido Domingo and Los Angeles Opera celebrated their tenth year of training young opera artists in the Domingo-Colburn-Stein Program. From the singing I heard, they definitely have something of which to be proud.
The Festspielhaus in Baden-Baden pretty much programs only big stars. A prime example was the Fall Festival this season. Grigory Sokolov opened with a piano recital, which I did not attend. I came for Cecilia Bartoli in Bellini’s Norma and Christian Gerhaher with Schubert’s Die Winterreise, and Anne-Sophie Mutter breathtakingly delivering Mendelssohn’s Violin Concerto together with the London Philharmonic Orchestra. Robin Ticciati, the ballerino conductor, is not my favorite, but together they certainly impressed in Mendelssohn.
Mahler as dramatist! Mahler Symphony no 8 with Vladimir Jurowski and the London Philharmonic Orchestra at the Royal Festival Hall. Now we know why Mahler didn't write opera. His music is inherently theatrical, and his dramas lie not in narrative but in internal metaphysics. The Royal Festival Hall itself played a role, literally, since the singers moved round the performance space, making the music feel particularly fluid and dynamic. This was no ordinary concert.
Imagine a fête galante by Jean-Antoine Watteau brought to life, its colour and movement infusing a bucolic scene with charm and theatricality. Jean-Philippe Rameau’s opéra-ballet Les fêtes d'Hébé, ou Les talens lyriques, is one such amorous pastoral allegory, its three entrées populated by shepherds and sylvans, real characters such as Sapho and mythological gods such as Mercury.
Details of the Royal Opera House's 2017/18 Season have been announced. Oliver Mears, who will begin his tenure as Director of Opera, comments:
“I am delighted to introduce my first Season as Director of Opera for The Royal Opera House. As I begin this role, and as the world continues to reel from social and political tumult, it is reassuring to contemplate the talent and traditions that underpin this great building’s history. For centuries, a theatre on this site has welcomed all classes - even in times of revolution and war - to enjoy the most extraordinary combination of music and drama ever devised. Since the time of Handel, Covent Garden has been home to the most outstanding performers, composers and artists of every era. And for centuries, the joyous and often tragic art form of opera has offered a means by which we can be transported to another world, in all its wonderful excess and beauty.”
Whatever one’s own religious or spiritual beliefs, Bach’s St Matthew Passion is one of the most, perhaps the most, affecting depictions of the torturous final episodes of Jesus Christ’s mortal life on earth: simultaneously harrowing and beautiful, juxtaposing tender stillness with tragic urgency.
Lindy Hume’s sensational La bohème at the Berliner
Staatsoper brings out the moxie in Puccini. Abdellah Lasri emerged as a
stunning discovery. He floored me with his tenor voice through which he
embodied a perfect Rodolfo.
Listening to Moritz Eggert’s Caliban is the equivalent of
watching a flea-ridden dog chasing its own tail for one-and-half hours. It
scratches, twitches and yelps. Occasionally, it blinks pleadingly, but you
can’t bring yourself to care for such a foolish animal and its
A large audience packed into the Wigmore Hall to hear the two Baroque rarities featured in this melodious performance by Christian Curnyn’s Early Opera Company. One was by the most distinguished ‘home-grown’ eighteenth-century musician, whose music - excepting some of the lively symphonies - remains seldom performed. The other was the work of a Saxon who - despite a few ups and downs in his relationship with the ‘natives’ - made London his home for forty-five years and invented that so English of genres, the dramatic oratorio.
18 Oct 2005
You may never have heard of Lennox Berkeley. But his music was admired by many of the most notable composers of the mid-20th century—Britten and Poulenc were close personal friends, and he has a dedicated band of admirers today (there is a Lennox Berkeley Society). Yet, for one reason or another, Berkeley has never become a household name.
The composer wrote music in a broad range of genres, including four operas, only one of which—his 1954 opera Nelson—is a full length work. Ruth, his third, was commissioned by Britten’s English Opera Group after their successful premiere of his second opera, the comedic A Dinner Engagement. The libretto was provided by Britten collaborator Eric Crozier, and the role of Boaz was sung by Peter Pears.
Ruth premiered in October 1956, paired with seventeenth-century composer John Blow’s Venus and Adonis. Like all works performed by the English Opera Group, Ruth was scored for very small forces—two flutes, horn, piano, timpani, and eleven string players.
Berkeley was a lifelong Christian, converting to Catholicism in 1929, and his opera Ruth is clearly a statement of faith. The story, for the most part, sticks to the biblical narrative which tells how the Israelite woman Naomi and her two Moabite daughters-in-law return to Bethlehem after the deaths of Naomi’s Moabite husband, and her two sons. Crozier and Berkeley make a point of the fact that Moab was an enemy of Israel, and thus Ruth is treated as a feared outsider by the Israelites.
The 78-minute opera is divided into three scenes. In the first, Naomi, Ruth, and Orpah are nearing Bethlehem. Naomi is anxious about how she will be received, and urges her two daughters-in-law to return to the homes of their mothers. Orpah eventually obeys, but Ruth insists that she will stay with Naomi, singing an aria which enlarges on the famous biblical text:
Whither thou goest, I will go.
Where thou lodgest, I will lodge.
Where thou diest, I will die
and there I will be buried...
Thy people shall be my people,
and thy God my God!
Naomi and Ruth are destitute, and in the second scene Ruth tries to follow an Israelite custom which allows poor women to glean in the barley fields following the harvesters. But in Berkeley’s telling, the Israelites cruelly attempt to exclude Ruth as an enemy and a witch. The field’s owner, Boaz, intervenes, and scolds the harvesters for their inhospitality. Ruth is gracious, and urges Boaz not to judge his people harshly, as they merely “hate what they cannot understand”.
In the final scene, Naomi urges Ruth offer herself as a wife to Boaz, though the colorful biblical episode of Ruth lying down at the Boaz’s feet while he sleeps is absent. Boaz is surprised, but acquiesces. He presents his new wife to the people, and everyone rejoices, predicting that Ruth’s womb shall “bring forth kings” (Ruth was the foremother of both David and Jesus), and praising God.
Ruth is probably not an opera for those who define the form through their love of the warhorses that appear at their local opera house. This isn’t Tosca or Tristan. The music is not easy to describe. It is emotionally cool, reminiscent of Stravinsky and Britten, yet it is also rich in it’s sensuous orchestral timbres, reminding one perhaps of Ravel, a composer whom Berkeley had gone to for advice as a youth. For the most part it lacks any sense of naturalistic drama—seeming at times rather like a biblical pageant. Yet at others, it does gain a certain emotional momentum. The first scene seems especially dramatically detached—yet it’s mournful, astringent harmonies are affecting. The confrontation between Ruth and the reapers struck me as trying too hard for modern applicability (racial prejudice, etc.), yet the following exchange between Ruth and Boaz, though not exactly a love duet, is none-the-less poignant and touching. As the story develops, the chorus takes on a large role, and here the choral writing frequently reminded me of the much younger British choral composer John Rutter. Was Rutter an admirer of Berkeley, or did they both look to an earlier model? At times, recitative-like passages are accompanied only by the piano.
With Ruth, Chandos has released a characteristically fine product. The opera is attractively packaged, has excellent sound, and contains an informative booklet with full libretto translated into French and German. The soloists are fine, with mezzo-soprano Jean Rigby singing an affecting Ruth with her large, dark voice, and tenor Mark Tucker as Boaz—who I expect I would prefer in the role to Peter Pears—makes one curious to hear him in more familiar repertory. As Naomi, soprano Yvonne Kenny sings with a rather wide vibrato that gives her a more matronly sound, but considering the role, this is wholly appropriate. Richard Hickox leads the City of London Sinfonia in a performance of exquisite subtlety, which is exactly what this music requires.
All in all, for the adventurous opera lover who isn’t wholly repelled by the twentieth century musical language that developed after romanticism, Ruth offers many pleasures.
Eric D. Anderson