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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.
A new recording, made late last year, Morfydd Owen : Portrait of a Lost Icon, from Tŷ Cerdd, specialists in Welsh music, reveals Owen as one of the more distinctive voices in British music of her era : a grand claim but not without foundation. To this day, Owen's tally of prizes awarded by the Royal Academy of Music remains unrivalled.
On March 24, 2017, Los Angeles Opera revived its co-production of Jacques Offenbach’s The Tales of Hoffmann which has also been seen at the Mariinsky Opera in Leningrad and the Washington National Opera in the District of Columbia.
Ermonela Jaho is fast becoming a favourite of Covent Garden audiences, following her acclaimed appearances in the House as Mimì, Manon and Suor Angelica, and on the evidence of this terrific performance as Puccini’s Japanese ingénue, Cio-Cio-San, it’s easy to understand why. Taking the title role in the first of two casts for this fifth revival of Moshe Leiser’s and Patrice Caurier’s 2003 production of Madame Butterfly, Jaho was every inch the love-sick 15-year-old: innocent, fresh, vulnerable, her hope unfaltering, her heart unwavering.
Calliope Tsoupaki’s latest opera, Fortress Europe, premiered
as spring began taming the winter storms in the Mediterranean.
To celebrate its 40th anniversary New Sussex Opera has set itself the challenge of bringing together the six scenes - sometimes described as six discrete ‘tone poems’ - which form Delius’s A Village Romeo and Juliet into a coherent musico-dramatic narrative.
24 Oct 2005
The Karajan Collection—Wagner Orchestral Music
“Das Wunder Karajan” – “the miracle of Karajan” – is a phrase associated with the conductor since he was thirty years old, and that phrase holds true in his recorded legacy. In addition to recent DVD releases, EMI has issued a series of CDs in its “The Karajan Collection,” which preserves many fine studio recordings.
Among the volumes in the set is a collection of orchestral music from Wagner’s operas, which stems several concerts with the Berlin Philharmonic between the end of September and early October in 1974. (Originally released in 1975, the selections were remastered in 2001.) Since Karajan was noted as an interpreter of Wagner’s music, and his work with the Berlin Philharmonic is well known, this recording preserves several fine pieces that are rarely played with such consistent intensity, and one can imagine the immediate impact on the audience.
The Overture to Tannhaüser, the longest selection on this CD, makes use of the Paris version of the score, and it includes the chorus of the Deutsche Oper, Berlin, rather than the exclusively orchestra rendering something found on recordings of excerpts from Wagner’s operas. The balance between chorus and orchestra is effective, just as the shifts in orchestral color that are part of the Overture are achieved with smoothly. The solid string textures form a rich foundation for the sometimes exposed woodwind and brass playing in this piece, and the result is as vibrant as it was thirty years ago, when Karajan recorded it.
Likewise, the full string sounds with which the Prelude to Lohengrin opens are difficult to match. While some may quibble with Karajan’s tempos, which can be a little quicker than some would like, this performance is hardly willful: Karajan shows a clear direction as the piece grows in intensity and orchestral color before it subsides in the rich string sounds found in the opening measures. Such masterful direction is borne out in the Prelude to the third act of the same opera, where the prominent brass sonorities offer the kind of polished sound usually associated with the Chicago Symphony Orchestra under Georg Solti.
At the center of this recording is the Prelude to Tristan und Isolde, a work for which Karajan was respected in the opera house. Karajan’s performance of the Prelude is among his finest, as he renders the details of the score precisely and elicits the emotional pitch that this piece must have. The only caveat about this performance is the attaca that connects the orchestral version of Isolde’s “Liebestod” to the end of the Prelude to the first act. While this may work in concert, the banding on a CD should reflect the discrete pieces. With the two pieces connected in this way, the pathos that is essential to the Prelude maps directly onto the “Liebestod” from the end of the third act. Even without including the voice in this performance, Karajan draws the appropriate emotion from the instruments in his cantabile approach to this piece.
It is difficult to follow the music from Tristan und Isolde in this collection, except with something different, and the Overture to Der fliegende Holländer offers sufficient contrast. This selection is, again, a solid performance that evokes the mood of the opera itself. As with the other pieces on this CD the sound vividly captures the fine playing. Karjan’s tempos are compelling, and fit not only the score as Wagner left it, but also the level of playing of the Berlin Philharmonic. Nothing is out of place in this performance, with every detail sounding in place, as though the Orchestra were a single instrument – an achievement of “das Wunder Karajan.” Yet in the final piece on this recording, Karajan builds somewhat on tradition to offer a more paced and majestic reading of the Overture to Der Meistersinger von Nürnberg. In this in this performance, the work even slows a bit near the ending to bring out the fanfares and string accompaniments that are often blurred on other recordings. As the tempos slow toward the final passages, the intensity of the playing increases, with dynamic, resonant sounds that culminate in the well-spaced chords at the conclusion of the Overture.
This recording is a fine collection on its own merits, but it even more impressive as part of EMI’s “Karajan Collection.” The liner notes by Richard Osborne give a synopsis of Karajan’s work with Wagner’s music, but could be enhanced with a discography of the conductor’s recordings. The distinctive look of the CD packaging identifies the volumes in this series, with a black-and-white photo presumably from the time of the recording against a brown-tan background. While a list of the CDs in the set is not part of this recording, those interested might consult the website www.emiclassics.com. It is a fine release on its own merits, and all the more impressive as part of the set being issue by EMI.
James L. Zychowicz