Recently in Reviews
With her irresistible cocktail of spontaneity and virtuosity, Cecilia
Bartoli is a beloved favourite of Amsterdam audiences. In triple celebratory
mode, the Italian mezzo-soprano chose Rossini’s La Cenerentola,
whose bicentenary is this year, to mark twenty years of performing at the
Concertgebouw, and her twenty-fifth performance at its Main Hall.
Matthew Rose and Gary Matthewman Winterreise: a Parallel Journey at the Wigmore Hall, a recital with extras. Schubert's winter journey reflects the poetry of Wilhelm Müller, where images act as signposts mapping the protagonist's psychological journey.
Donizetti’s Anna Bolena, composed in 1830, didn’t make it to Lisbon until 1843 when there were 14 performances at its magnificent Teatro São Carlos (opened 1793), and there were 17 more performances spread over the next two decades. The entire twentieth century saw but three (3) performances in this European capital.
It is difficult to know where to begin to praise the stunning achievement of Opera San Jose’s West Coast premiere of Silent Night.
Like Carmen, Billy Budd is an operatic personage of such breadth and depth that he becomes unique to everyone. This signals that there is no Billy Budd (or Carmen) who will satisfy everyone. And like Carmen, Billy Budd may be indestructible because the opera will always mean something to someone.
American composer John Adams turns 70 this year. By way of celebration no
less than seven concerts in this season’s NTR ZaterdagMatinee series
feature works by Adams, including this concert version of his first opera,
Nixon in China.
Despite the freshness, passion and directness, and occasional wry quirkiness, of many of the works which formed this lunchtime recital at the Wigmore Hall - given by mezzo-soprano Kathryn Rudge, pianist James Baillieu and viola player Guy Pomeroy - a shadow lingered over the quiet nostalgia and pastoral eloquence of the quintessentially ‘English’ works performed.
'Nobody does Gilbert and Sullivan anymore.’ This was the comment from many of my friends when I mentioned the revival of Mike Leigh's 2015 production of The Pirates of Penzance at English National Opera (ENO). Whilst not completely true (English Touring Opera is doing Patience next month), this reflects the way performances of G&S have rather dropped out of the mainstream. That Leigh's production takes the opera on its own terms and does not try to send it up, made it doubly welcome.
On Feb 3, 2017, Arizona Opera presented Giacomo Puccini’s dramatic opera Madama Butterfly. Sandra Lopez was the naive fifteen-year-old who falls hopelessly in love with the American Naval Officer.
In the last of my three day adventure, I headed to Vienna for the Wiener
Philharmoniker at the Musikverein (my first time!) for Mahler and Brahms.
In Amsterdam legend Janine Jansen and the seventh Principal Conductor of the
Royal Concertgebouw, Daniele Gatti, came together for their first engagement in
a ravishing performance of Berg’s Violin Concerto.
I extravagantly scheduled hearing the Berliner, Concertgebouw Orchestra, and
Wiener Philharmoniker, to hear these three top orchestra perform their series
programmes opening the New Year.
There is no bigger or more prestigious name in avant-garde French theater than Romeo Castellucci (b. 1960), the Italian metteur en scène of this revival of Arthur Honegger’s mystère lyrique, Joan of Arc at the Stake (1938) at the Opéra Nouvel in Lyon.
On January 28, 2017, Los Angeles Opera premiered James Robinson’s nineteen twenties production of Mozart’s The Abduction from the Seraglio, which places the story on the Orient Express. Since Abduction is a work with spoken dialogue like The Magic Flute, the cast sang their music in German and spoke their lines in English.
Fecund Jason, father of his wife Isifile’s twins and as well father of his seductress Medea’s twins, does indeed have a problem — he prefers to sleep with and wed Medea. In this resurrection of the most famous opera of the seventeenth century he evidently also sleeps with Hercules.
A Falstaff that raised-the-bar ever higher, this was a posthumous resurrection of Luca Ronconi’s masterful staging of Verdi’s last opera, the third from last of the 83 operas Ronconi staged during his lifetime (1933-2015). And his third staging of Falstaff following Salzburg in 1993 and Florence in 2006.
One of Aidan Lang’s first initiatives as artistic director of Seattle
Opera was to encourage his board to formulate a “mission statement”
for the fifty-year old company. The document produced was clear, simple, and
anodyne. Seattle Opera would aim above all to create work appealing both to the
emotions and reason of the audience.
Contrary to Stolzi’s multidimensional Parsifal,
Holten’s simple setting of Lohengrin felt timeless with its
focus on the drama between characters. Premiering in 2012, nothing too flashy
and with a clever twist,
Deutsche Oper Berlin (DOB) consistently serves up superlatively sung Wagner
productions. This Fall, its productions of Philipp Stölzl's Parsifal and
Kasper Holten's Lohengrin offered intoxicating musical affairs. Annette Dasch, Klaus Florian Vogt, and Peter Seiffert reached for the stars. Even when it
comes down to last minute replacements, the casting is topnotch.
Donna abbandonata would have been a good title for the first concert of Temple Music’s 2017 Song Series. Indeed, mezzo-soprano Christine Rice seems to be making a habit of playing abandoned women.
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.
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.