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It is not an everyday opera. It is an opera that illuminates a larger verismo history.
On March 26, 2015, Los Angeles Opera presented Mozart’s Le nozze di Figaro (The Marriage of Figaro). The Ian Judge production featured jewel-colored box sets by Tim Goodchild that threw the voices out into the hall. Only for the finale did the set open up on to a garden that filled the whole stage and at the very end featured actual fireworks.
Gotham Chamber Opera’s latest project, The Tempest Songbook, continues to
explore the possibilities of unconventional spaces and unconventional programs
that the company has made its hallmark. The results were musically and
theatrically thought-provoking, and left me wanting more.
Nixon in China is a three-act opera with a libretto by Alice Goodman and music by John Adams that was first seen at the Houston Grand Opera on October 22, 1987. It was the first of a notable line of operas by the composer.
It is thanks to Céline Ricci, mezzo-soprano and director of Ars Minerva, that we have been able to again hear Daniele Castrovillari’s exquisite melodies because she is the musician who has brought his 1662 opera La Cleopatra to life.
Lyric Opera of Chicago, in association with the Royal Opera House, Covent Garden, has staged a production of Richard Wagner’s Tannhäuser with an estimable cast.
Puccini and his fellow verismo-ists are commonly associated with explosions of unbridled human passion and raw, violent pain, but in this revival (by Justin Way) of Moshe Leiser’s and Patrice Caurier’s 2003 production of Madame Butterfly, directorial understatement together with ravishing scenic beauty are shown to be more potent ways of enabling the sung voice to reveal the emotional depths of human tragedy.
Rarely, very rarely does a Tosca come around that you can get excited about. Sure, sometimes there is good singing, less often good conducting but rarely is there a mise en scène that goes beyond stock opera vocabulary.
The Nash Ensemble’s 50th Anniversary Celebrations at the Wigmore Hall were crowned by a recital that typifies the Nash’s visionary mission. Above, the dearly-loved founder, Amelia Freeman, a quietly revolutionary figure in her own way, who has immeasurably enriched the cultural life of this country.
On March 7, 2015, Arizona Opera presented Dan Rigazzi’s production of Die Zauberflöte in Tucson. Inspired by the works of René Magritte, designer John Pollard filled the stage with various sizes of picture frames, windows, and portals from which he leads us into Mozart and Schikaneder’s dream world.
There are some concert programmes which are not just wonderful in their execution but also delight and satisfy because of the ‘rightness’ of their composition. This Wigmore Hall recital by soprano Carolyn Sampson and three period-instrument experts of arias and instrumental pieces by Henry Purcell was one such occasion.
It has been a cold and gray winter in the south of France (where I live) made splendid by some really good opera, followed just now by splendid sunshine at Trafalgar Square and two exquisite productions at English National Opera.
At long last, Rise and Fall of the City of Mahagonny has come to the Royal Opera House. Kurt Weill’s teacher, Busoni, remains scandalously ignored, but a season which includes house firsts both of this opera and Szymanowsi’s King Roger, cannot be all bad.
RILM Abstracts of Music Literature is an international database for
musicological and ethnomusicological research, providing abstracts and indexing
for users all over the world. As such, RILM’s style guide (How to Write
About Music: The RILM Manual of Style) differs fairly significantly from
those of more generalized style guides such as MLA or APA.
Unsuk Chin’s Alice in Wonderland returned to the Barbican,
London, shape-shifted like one of Alice’s adventures. The BBC Symphony
Orchestra was assembled en masse, almost teetering off stage, creating
a sense of tension. “Eat me, Drink me”. Was Lewis Carroll on hallucinogens
or just good at channeling the crazy world of the subconscious?
Dominic Cooke’s 2005 staging of The Magic Flute and Richard Jones’s 1998 production of Hansel and Gretel have been brought together for Welsh National Opera’s spring tour under the unifying moniker, Spellbound.
Carolyn Sampson has long avoided the harsh glare of stardom but become a favourite singer for “those in the know” — and if you are not one of those it is about time you were.
Gaetano Donizetti and Malcolm Arnold might seem odd operatic bedfellows, but this double bill by the Guildhall School of Music and Drama offered a pair of works characterised by ‘madness, misunderstandings and mistaken identity’ which proved witty, sparkling and imaginatively realised.
Saturday, February 28, 2015, was the first night for Los Angeles Opera’s revival of its 2009 presentation of The Barber of Seville, a production by Emilio Sagi, which comes originally from Teatro Real in Madrid in cooperation with Lisbon’s Teatro San Carlos. Sagi and onsite director, Trevor Ross, made comedy the focus of their production and provided myriad sight gags which kept the audience laughing.
Commenting on her recent, highly acclaimed CD release of late-nineteenth-century song, Chansons Perpétuelles (Naive: V5355), Canadian contralto Marie-Nicole Lemieux remarked ‘it’s that intimate side that interests me
I wanted to emphasise the genuinely embodied, physical side of the sensuality [in Fauré]’.
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