Subscribe to
Opera Today

Receive articles and news via RSS feeds or email subscription.


twitter_logo[1].gif



9780393088953.png

9780521746472.png

0810888688.gif

0810882728.gif

Recently in Reviews

Green: Mélodies françaises sur des poèmes de Verlaine

Philippe Jaroussky lends poetry and poise to the sounds of nineteenth- and twentieth-century France

J. C. Bach: Adriano in Siria

At this start of the year, Classical Opera embarked upon an ambitious project. MOZART 250 will see the company devote part of its programme each season during the next 27 years to exploring the music by Mozart and his contemporaries which was being written and performed exactly 250 years previously.

Bethan Langford, Wigmore Hall

The Concordia Foundation was founded in the early 1990s by international singer and broadcaster Gillian Humphreys, out of her ‘real concern for building bridges of friendship and excellence through music and the arts’.

Tansy Davies: Between Worlds (world premiere)

An opera dealing with — or at least claiming to deal with — the events of 11 September 2001? I suppose it had to come, but that does not necessarily make it any more necessary.

Arizona Opera Ends Season in Fine Style with Fille du Régiment

On April 10, 2015, Arizona Opera ended its season with La Fille du Régiment at Phoenix Symphony Hall. A passionate Marie, Susannah Biller was a veritable energizer bunny onstage. Her voice is bright and flexible with a good bloom on top and a tiny bit of steel in it. Having created an exciting character, she sang with agility as well as passion.

Il turco in Italia, Royal Opera

This second revival of Patrice Caurier and Moshe Leiser’s 2005 production of Rossini’s Il Turco in Italia seems to have every going for it: excellent principals comprising experienced old-hands and exciting new voices, infinite gags and japes, and the visual éclat of Agostino Cavalca’s colour-bursting costumes and Christian Fenouillat’s sunny sets which evoke the style, glamour and ease of La Dolce Vita.

The Siege of Calais
——
The Wild Man of the West Indies

English Touring Opera’s 2015 Spring Tour is audacious and thought-provoking. Alongside La Bohème the company have programmed a revival of their acclaimed 2013 production of Donizetti’s The Siege of Calais (L’assedio di Calais) and the composer’s equally rare The Wild Man of the West Indies (Il furioso all’isola di San Domingo).

The Met’s Lucia di Lammermoor

Mary Zimmerman’s still-fresh production is made fresher still by Shagimuratova’s glimmering voice, but the acting disappoints

Voices, voices in space, and spaces: Thoughts on 50 years of Meredith Monk

When WNYC’s John Schaefer introduced Meredith Monk’s beloved Panda Chant II, which concluded the four-and-a-half hour Meredith Monk & Friends celebration at Carnegie’s Zankel Hall, he described it as “an expression of joy and musicality” before lamenting the fact that playing it on his radio show could never quite compete with a live performance.

St. John Passion by Soli Deo Gloria, Chicago

This year’s concert of the Chicago Bach Project, under the aegis of the Soli Deo Gloria Music Foundation, was a presentation of the St. John Passion (BWV 245) at the Harris Theater in Millennium Park.

Fedora in Genoa

It is not an everyday opera. It is an opera that illuminates a larger verismo history.

The Marriage of Figaro, LA Opera

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.

The Tempest Songbook, Gotham Chamber Opera

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.

San Diego Opera presents Adams’ Riveting Nixon in China

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.

Ars Minerva presents Castrovillari’s La Cleopatra in San Francisco

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.

An Ideal Cast in Chicago’s Tannhäuser

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.

Madame Butterfly, Royal Opera

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.

Tosca in Marseille

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.

Poetry beyond words — Nash Ensemble, Wigmore Hall

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.

Arizona Opera Presents Magritte Style Magic Flute

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.

OPERA TODAY ARCHIVES »

Reviews

Heinrich Ignaz Biber: Missa Christi resurgentis
01 Nov 2005

BIBER: Missa Christi resurgentis

In 1682 the Archbishopric of Salzburg celebrated its 1100th anniversary with an appropriately festal service in the Cathedral, depicted in an engraving by Melchior Küsel. Küsel’s engraving is a striking image, bringing into harmony the grand scale of the building (not yet one hundred years old), the ornamental richness of the interior, and the strong subdivisions of its space.

Heinrich Ignaz Biber: Missa Christi resurgentis

The English Concert & the Choir of the English Concert, Andrew Manze (dir.)

Harmonia Mundi HMU 907397 [CD]

 

In many ways the image also seems iconic of Heinrich Biber’s Missa Christi resurgentis, recorded here by the English Concert under the direction of Andrew Manze. The Mass itself is for large forces—two vocal choirs, a wind choir of trumpets, cornetti, and trombones, and a choir of strings—all deployed in a rich antiphonal array. The Küsel engraving also documents the divided placement of musicians in the cathedral’s galleries, and certainly the Mass would seem well served by this model.

Biber spent the vast majority of his career in the service of Prince Bishops, first at Kremsier where the bishop, Karl, Count Liechtenstein-Kastelkorn of Olomouc, maintained a strong interest in music—the library there remains a rich trove of Biber’s works—and later at Salzburg, where Biber served the Archbishop Maximilian Gandolph, Count Khüenberg and his successors for over three decades.

The Missa Christi resurgentis likely dates from early in Biber’s time at Salzburg, with a possible performance in the Cathedral at Easter of 1674. The festal circumstance of the liturgical occasion naturally would prompt a splendid display, but equally so would the princely context of the bishopric itself. (The bent towards splendor is perhaps most dramatically seen in a slightly later work, the fifty-three-part Missa Salisburgensis, now thought to be most likely by Biber, and probably performed in 1682.) The Easter Mass presents big swaths of color in alternation with more figural, smaller textures, where instruments and voices are in dialogue among themselves, as well as with the larger textures. Reflecting Biber’s status as a great violin virtuoso, the instrumental parts are prominent here with extended interludes and also in counterpoint with the voice, as in the compellingly intertwined writing of the Benedictus. Moreover, the prominence of trumpets here underscores not only the celebrative nature of Easter, but additionally the courtly ethos of the bishopric. The effect is dazzling! As is the performance. The choir, an ensemble of soloists, leans towards color and vibrancy rather than homogeneity, and given the emphasis on splendor and variety, that priority seems well chosen. The instrumental playing is highly polished, attaining both a high degree of elegance and verve. There is the occasional stylistic oddity, however. For instance, the solo trumpets have an odd tendency to push weak beats into strong ones, and thus seem to undermine a characteristic rhythmic hierarchy. That said, the trumpet playing remains brilliant and glorious, with a fine command of high range, passage work, and ornamental detail.

The recording includes a large number of sonatas in addition to the mass. In part, this reflects Biber’s own instrumental interests, but it also reminds of the degree to which instrumental music figured in festal liturgies. Biber’s sonatas are well represented here, but perhaps the best of the lot is that by Heinrich Schmelzer, the twelfth sonata from his 1662 Sacro-profanus concentus musicus. With grand writing for winds, its sumptuous tuttis, toe-tapping dance figures, ornamental passage work, and forays into the high register are gratifyingly memorable.

Manze and the English Concert evoke the splendor of seventeenth-century Salzburg with great flair. And in so doing, they continue to confirm that the English Concert remains in the front rank of period ensembles.

Steven Plank
Oberlin College

Send to a friend

Send a link to this article to a friend with an optional message.

Friend's Email Address: (required)

Your Email Address: (required)

Message (optional):