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Written at a time when both his theatrical business and physical health were in a bad way, Handel’s Faramondo was premiered at the King’s Theatre in January 1738, fared badly and sank rapidly into obscurity where it languished until the late-twentieth century.
Fabio Luisi conducted the London Symphony Orchestra in Brahms A German Requiem op 45 and Schubert, Symphony no 8 in B minor D759 ("Unfinished").at the Barbican Hall, London.
The atmosphere was a bit electric on February 25 for the opening night of
Leoš Janàček’s 1921 domestic tragedy, and not entirely in a
Applications are now open for the Bampton Classical Opera Young Singers’ Competition 2017. This biennial competition was first launched in 2013 to celebrate the company’s 20th birthday, and is aimed at identifying the finest emerging young opera singers currently working in the UK.
Each March France's splendid Opéra de Lyon mounts a cycle of operas that speak to a chosen theme. Just now the theme is Mémoires -- mythic productions of famed, now dead, late 20th century stage directors. These directors are Klaus Michael Grüber (1941-2008), Ruth Berghaus (1927-1996), and Heiner Müller (1929-1995).
Handel’s Partenope (1730), written for his first season at the King’s Theatre, is a paradox: an anti-heroic opera seria. It recounts a fictional historic episode with a healthy dose of buffa humour as heroism is held up to ridicule. Musicologist Edward Dent suggested that there was something Shakespearean about Partenope - and with its complex (nonsensical?) inter-relationships, cross-dressing disguises and concluding double-wedding it certainly has a touch of Twelfth Night about it. But, while the ‘plot’ may seem inconsequential or superficial, Handel’s music, as ever, probes the profundities of human nature.
The latest instalment of Wigmore Hall’s ambitious two-year project, ‘Schubert: The Complete Songs’, was presented by German tenor Christoph Prégardien and pianist Julius Drake.
On March 10, 2017, San Diego Opera presented an unusual version of Georges Bizet’s Carmen called La Tragédie de Carmen (The Tragedy of Carmen).
For his farewell production as director of opera at the Royal Opera House, Kasper Holten has chosen Wagner’s only ‘comedy’, Die Meistersinger von Nürnberg: an opera about the very medium in which it is written.
The dramatic strength that Stage Director Michael Scarola drew from his Pagliacci cast was absolutely amazing. He gave us a sizzling rendition of the libretto, pointing out every bit of foreshadowing built into the plot.
A skewering of the preening pretentiousness of the Pre-Raphaelites and Aesthetes of the late-nineteenth century, Gilbert and Sullivan’s 1881 operetta Patience outlives the fashion that fashioned it, and makes mincemeat of mincing dandies and divas, of whatever period, who value style over substance, art over life.
Irish mezzo-soprano Tara Erraught demonstrated a relaxed, easy manner and obvious enjoyment of both the music itself and its communication to the audience during this varied Rosenblatt Series concert at the Wigmore Hall. Erraught and her musical partners for the evening - clarinettist Ulrich Pluta and pianist James Baillieu - were equally adept at capturing both the fresh lyricism of the exchanges between voice and clarinet in the concert arias of the first half of the programme and clinching precise dramatic moods and moments in the operatic arias that followed the interval.
This Sunday the Metropolitan Opera will feature as part of the BBC Radio 3 documentary, Opera Across the Waves, in which critic and academic Flora Willson explores how opera is engaging new audiences. The 45-minute programme explores the roots of global opera broadcasting and how in particular, New York’s Metropolitan Opera became one of the most iconic and powerful
producers of opera.
On February 25, 2017, in Tucson and on the following March 3 in Phoenix, Arizona Opera presented its first world premiere, Craig Bohmler and Steven Mark Kohn’s Riders of the Purple Sage.
During the past few seasons, English Touring Opera has confirmed its triple-value: it takes opera to the parts of the UK that other companies frequently fail to reach; its inventive, often theme-based, programming and willingness to take risks shine a light on unfamiliar repertory which invariably offers unanticipated pleasures; the company provides a platform for young British singers who are easing their way into the ‘industry’, assuming a role that latterly ENO might have been expected to fulfil.
The first production of Ryan Wigglesworth’s first opera, based upon Shakespeare’s The Winter’s Tale, is clearly a major event in English National Opera’s somewhat trimmed-down season. Wigglesworth, who serves also as conductor and librettist, professes to have been obsessed with the play for more than twenty years, and one can see why The Winter’s Tale, with its theatrical ‘set-pieces’ - the oracle scene, the tempest, the miracle of a moving statue - and its grandiose emotions, dominated as the play is by Leontes’ obsessively articulated, over-intellectualized jealousy, would invite operatic adaptation.
Today, Wexford Festival Opera announced the programme and principal casting details for the forthcoming 2017 festival. Now in its 66th year, this internationally renowned festival will run over an extended 18-day period, from Thursday, 19 October to Sunday, 5 November.
A song cycle within a song symphony - Matthias Goerne's intriuging approach to Mahler song, with Marcus Hinterhäuser, at the Wigmore Hall, London. Mahler's entire output can be described as one vast symphony, spanning an arc that stretches from his earliest songs to the sketches for what would have been his tenth symphony. Song was integral to Mahler's compositional process, germinating ideas that could be used even in symphonies which don't employ conventional singing.
Gustav Mahler and fin-de-siècle Vienna will be the focus of the Oxford Lieder Festival (13-28 October 2017), exploring his influences, contemporaries and legacy. Mahler was a dominant musical personality: composer and preeminent conductor, steeped in tradition but a champion of the new. During this Festival, his complete songs with piano will be heard, inviting a fresh look at this ’symphonic’ composer and the enduring place of song in the musical landscape.
On February 21, 2017, San Diego Opera presented Giuseppe Verdi’s last composition, Falstaff, at the Civic Theater. Although this was the second performance in the run and the 21st was a Tuesday, there were no empty seats to be seen. General Director David Bennett assembled a stellar international cast that included baritone Roberto de Candia in the title role and mezzo-soprano Marianne Cornetti singing her first Mistress Quickly.
21 Oct 2005
Welsh songs worth discovering
SAIN (the Welsh word for 'sound', and pronounced like the English word 'sign') is Wales' leading recording company, founded in 1969 in Cardiff by Dafydd Iwan, Huw Jones and Brian Morgan Edwards. The label has a strong social and political message, and for the first few years, SAIN specialised in songs by young singers, many of them concerning the national and linguistic resurgence of Wales, which had begun in the 60's.
So it is not surprising that the first CD's of the world famous Welsh bass-baritone Bryn Terfel were produced by this label. His first CD was released in 1988, when Bryn Terfel was the winner of the Kathleen Ferrier Memorial Scholarship. This was before his opera debut, and the compilation on this CD seems like an unconnected collection of casting arias. Besides Welsh songs of Idris Lewis, R. Vaughan Williams, Eric Jones, Vincent Davies, W. Mathews Williams, Osborne Roberts, W. Bradwen Jones, and two traditional songs arranged by the pianist Annette Bryn Parri, you will find Schubert’s "Fischermädchen", Mozart’s "Non più andrai", Gounod’s "Vous qui faites l'endormie", Händel’s "But who may abide the day of his coming?", Tosti’s "Ideale" and Franco Leoni’s "Tally-Ho!". This may be dramaturgically strange, but it shows the great variety of the young singer at the beginning of his career. Terfel’s wonderful voice is powerful and technically effortless, but sometimes sounds on this CD a little exhausted or not quite mature. This does, however, not reduce the listening enjoyment. The booklet is sparse with only short descriptions of the songs in English, and contains nothing about Welsh composers, some of whom are not well known.
In 1990 the second Bryn Terfel CD was released with the title "Cyfrol2-Volume2", again under the label SAIN. The booklet is even more meagre than that of the debut album: the publisher did not take the trouble to name the composers of some of the pieces. The collection seems similarly arbitrary as that of the first CD. Thus we find here the well known aria from "The Fiddler on the Roof" in Welsh, three beautiful Welsh songs by Meirion Williams, Schubert’s "Ständchen", an aria from the musical "South Pacific", an aria by Handel from "Judas Maccabäus" with piano accompaniment - marvelously sung by Bryn Terfel! -, songs by William Davies, W. Albert Williams, John Ireland, Mansel Treharne Thomas and Richard Samuel Hughes, a canzonet by Haydn, the Coat aria from "La Bohème", Don Giovanni's "Serenade" - all arias with piano accompaniment. Bryn Terfel's voice is beautiful, in his own language completely free and easy. But also listening to the opera arias one can anticipate the world career of this great singer. The Welsh songs are worth discovering. One wishes for a more detailed booklet about these unknown compositions.
A year later, 1991, SAIN recorded with Bryn Terfel singing Schubert's „Schwanengesang“ with the well known pianist Malcolm Martineau. The quality of the recording is technically and musically excellent. Bryn Terfel has a beautiful flowing voice with apparently infinite breath and easy height. However his pronounciation of the German vowels and consonants is shaped by the Italian vowel sound and thus sometimes irritating to a German ear. Through this strange vowel sound each German word has a great importance, and sometimes the intermediate tones are missing; perhaps only a native speaker can produce these. This is remarkably apparent in "Abschied", where the ambiguity which one knows from Fischer-Dieskau is missing and Bryn Terfel is suffering exclusively. Every "Ade" he sings with great importance. Also the "Taubenpost" he sings similarily ponderous and suffering. However, Bryn Terfel sings "Kriegers Ahnung", "Aufenthalt", "Der Atlas" and "Die Stadt" in a wonderful way. Here his powerful bass-baritone voice and his great strength is especially effective. The booklet is in Welsh, English and German and in more detail than the ones included in the first two CD's.
1993 SAIN released the CD "Un Canu Caneuon" with songs by the Welsh composer Meirion Williams, sung by Bryn Terfel, with Annette Bryn Parri at the piano. Meirion Williams lived from 1901-1976 and was one of the composers mainly responsible for transforming Welsh classical song-writing. He always took great care to make sure that the words he used were appropriate for the expression of feelings. This CD contains the compositions of 40 years, including well known Welsh songs that Meirion Williams composed as a young man, and at the end the cycle "Adlewych", which he composed for BBC Wales when he was almost 70 years old. Meirion Williams' style is influenced by late romanticism. Developments like the twelve-tone technique have passed him by. This by no means diminishes the compositions: they are wonderful and passionate, and should be known outside Wales! Williams’ songs are about the love of country and landscape, and Welsh is a very singable language. The songs have wonderful melodies for the language and voice. The combination Bryn Terfel / Meirion Williams is ideal! Bryn Terfel's vigorous voice flows with infinite breath, and it is a joy to listen to him. This time the booklet is very detailed in Welsh and English, and one hopes that many listeners will get to know the songs of Meirion Williams.
Besides the CD's of Bryn Terfel, SAIN released the second solo album of the young Welsh tenor Rhys Meirion in 2004. Rhys Meirion was member of the Frankfurter Opera and this year sings "Rodolfo" in Sydney and "Roméo" in Melbourne. The label compares him with Bryn Terfel, with whom he has also sung duets. Rhys Meirion - a bright light tenor - has not made a good choice with the selection of all the songs for this CD. The lyric Welsh songs by Bilys Elwyn Edwards, R Lowry and Meirion Williams with piano accompaniment are beautiful and appropiate for his voice. Also very musical and beautiful are his version of "Caro Mio Ben" by Guiseppe Giordini. Unfortunately, for some songs and arias keyboard instead of orchestra accompaniment was chosen, and the keyboard playing falsifies the total sound of the compositions. In addition, Rhys Meirion has chosen 3 compositions by a friend of his, the composer Robat Arwyn, with keyboard and choir accompaniment, which are indescribable trivial. In the Italian arias "Torna a Surriento" by Curtis and "Core 'Ngrato" by Cadillo the keyboard sound seems inconvenient to the extent that it is difficult to listen to the singer`s voice. When one gets accustomed to Rhys Meirion`s bright voice he sings very musically, but one is relieved as a listener when he manages to reach the high notes. In "Ave Maria" by Schubert - again with keyboard accompaniment - one wonders painfully whether Meiron’s breath will be enough for the long phrases. The final piece, "Ombra Mai Fu" by Handel was - for whatever reasons - arranged by the pianist Annette Bryn Parri for keyboard, choir and tenor, which can seem banal. After listening to this CD I wish this young singer and the label more luck and a sensible ear in the compilation of the next program.