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The mysteries and myths surrounding Mozart’s Requiem Mass - left unfinished at his death and completed by his pupil, Franz Xaver Süssmayr - abide, reinvigorated and prolonged by Peter Shaffer’s play Amadeus as directed on film by Miloš Forman. The origins of the work’s commission and composition remain unknown but in our collective cultural and musical consciousness the Requiem has come to assume an autobiographical role: as if Mozart was composing a mass for his own presaged death.
I saw two operas consecutively at Oper Koln. First, the utterly
bewildering Lucia di Lammermoor; then Thilo Reinhardt’s
thrilling Tosca. His staging was pure operatic joy with some
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.
26 Oct 2005
Great Operatic Arias, Vol. 17 — Christine Brewer
Beethoven Shines Thru the Mix
In the best of all possible worlds this recording of arias and show tunes would have been done in the original languages, the language of composition, with the vocal sounds intended by Gluck, Mozart, Weber, Wagner and others who defined great singing.
The singer Christine Brewer and the music deserve that, and not the often awkward translations and occasionally sub-par conducting and recording supplied by producer Chandos for the Moores Foundation’s English series [Chandos 3127].
Let me get my own bias, if that’s the term, out of the way up front: I find it hard to enjoy German, French or other languages translated into English for operatic performance. I’ll never forget an English National Opera production in the 1970s, of the French Manon with Valerie Masterson and Alberto Remedios, which should have been stunning, but was reduced to near-Gilbert and Sullivan in the English vernacular. But, hark! All is not lost, for just as soon as Brewer has delivered an impressive, if Englished, “Ocean Thou Mighty Monster” (Weber) on this disc, than she turns to Arthur Sullivan’s cantata, The Golden Legend for the big soprano/choral scene, “The Night is Calm and Cloudless” – a big dramatic scene in best Victorian style – that proves quite effective in its native English. I rest my case. Native lingo is best, for the language is part of the music.
With that caveat, how does La Brewer do with her big dramatic pieces mixed in with a few show tunes in this new arias disc? Swimmingly in the classical numbers, a bit less idiomatically in the translated operetta pieces by Lehar and Kalman, but fine in tunes of Richard Rodgers and Bob Merrill. Where there are problems, they seem to come from David Parry and the Philharmonia Orchestra and a choir. The lead-in to Countess Maritza’s entrance aria is a real bog – not only slow, but dragged down tonally and out of synch between orchestra and a slightly rough chorus. Better rehearsed, put back into German and speeded up it would be just fine. Brewer’s mellow low and mid-voice rendition of Rodger’s immortal “You’ll Never Walk Alone” is big league; it may well be remembered as a touchstone performance. Rossini’s Stabat Mater is dropped into the middle of these light songs, and the “Inflammatus” rings with resounding soprano tones just in case we’ve forgotten Brewer is one of the most luxurious big voices of our time. Three out of a dozen selections are in their original English, and they are entirely comfortable. The juicy Kalman operetta aria “Meine lippen sie kussen so heiss,” here “On my lips ev’ry kiss is like wine” (see what I mean?), is sung elegantly, if without the lilt and flirt of the German text. Beethoven’s concert aria, “Ah Perfido,” to my ear the best performance on this CD, is sandwiched between Lehar and Bob Merrill (his lovely Lili’s song ‘Mira’ from Carnival) creating a peculiar ambience if one listens straight through the disc, which is not recommended. But the Beethoven is superb, sung with much feeling and poise, and with ravishing tone, Brewer at her best. But who set the order of these selections? It’s wiser to make one’s own.
Finally, I do have to carp a little about the sonics: Heaven knows Brewer needs no help with pitch or amplitude. But the engineers have fiddled with the position of the voice, often too close, and have added resonance, which can sometimes create a ragged release or blurred detail, as in the smudged, rushed orchestral opening in Elisabeth’s Act II aria from Tannhauser, and the occasional forte high note can blast. Brewer sings “Mira – Can you imagine that,” so sweetly and simply, it is one of her finest numbers; but here it is set in a resonance too big and imposing. Even so: yum!
Most of all I wish conductor David Parry had worked his musical forces into a better fused whole, and achieved more graceful and consistent tempos. At times he is too cautious and can seem to hold back the soloist.
In sum: a mixed blessing, but worth its price due to the many beauties of Christine Brewer and quality of the music she sings. This is a good documentation of her distinguished talents, caught in top form over three days in March 2005.
J. A. Van Sant
Santa Fe, New Mexico