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Bold, bright and brash, Moshe Leiser and Patrice Caurier’s Il barbiere di Siviglia tells its story clearly in complementary primary colours.
Bampton Classical Opera’s 2014 double bill neatly balanced drollery and gravity. Rectifying the apparent prevailing indifference to the 300th centenary of Christoph Willibald Gluck birth, Bampton offered a sharp, witty production of the composer’s Il Parnaso confuso, pairing this ‘festa teatrale’ with Ferdinando Bertoni’s more sombre Orfeo.
Harry Christophers and The Sixteen Choir and Orchestra launched the Wigmore Hall’s two-year series, ‘Purcell: A Retrospective’, in splendid style. Flexibility, buoyancy and transparency were the watchwords.
It would be unfair, but one could summarise this concert with the words, ‘Senator, you’re no Leonard Bernstein.’
On September 13, Los Angeles Opera opened its 2014-2015 season with a revival of Marta Domingo’s updated, Art Deco staging of Giuseppe Verdi’s La traviata. It starred Nino Machaidze as Violetta, Arturo Chácon-Cruz as Alfredo, and Plácido Domingo as Giorgio Germont. The conductor was Music Director James Conlon.
In its annual concert previewing the forthcoming season Lyric Opera of Chicago presented its “Stars of Lyric Opera at Millennium Park” during the past weekend to a large audience of enthusiastic listeners.
Come to think of it the 1950‘s were operatically rich years in America compared to other decades in the recent past. Just now the San Francisco Opera laid bare an example, Carlisle Floyd’s Susannah.
Nicholas Hytner’s production of Handel’s Xerxes (Serse) at English National Opera (ENO) is nearly 30 years old, and is the oldest production in ENO’s stable.
On Friday evening September 5, 2014, tenor Stephen Costello and soprano Ailyn Pérez gave a recital to open the San Diego Opera season. After all the threats to close the company down, it was a great joy to great San Diego Opera in its new vibrant, if slightly slimmed down form.
English National Opera’s 2014-15 season kicked off with an ear-piercing orchestral thunderbolt. Brilliant lightning spears sliced through the thick black night, fitfully illuminating the Mediterranean garret-town square where an expectant crowd gather to welcome home their conquering hero.
It is now three and a half years since Anna Nicole was unleashed on the world at the Royal Opera House, Covent Garden.
It was a Druid orgy that overtook the War Memorial. Magnificent singing, revelatory conducting, off-the-wall staging (a compliment, sort of).
There was a quasi-party atmosphere at the Wigmore Hall on Monday evening, when Joyce DiDonato and Antonio Pappano reprised the recital that had kicked off the Hall’s 2014-15 season with reported panache and vim two nights previously. It was standing room only, and although this was a repeat performance there certainly was no lack of freshness and spontaneity: both the American mezzo-soprano and her accompanist know how to communicate and entertain.
In strict architectural terms, the stupendous 2nd century Roman
theatre of Aspendos near Antalya in southern Turkey is not an arena or
amphitheatre at all, so there are not nearly as many ghosts of gored gladiators
or dismembered Christians to disturb the contemporary feng shui as in
other ancient loci of Imperial amusement.
Simon Rattle and the Berlin Philharmonic Orchestra brought their staging of Bach's St Matthew Passion to the BBC Proms at the Royal Albert Hall on Saturday, 6 September 2014.
Every so often an opera fan is treated to a minor miracle, a revelatory performance of a familiar favorite that immediately sweeps all other versions before it.
On August 30, Los Angeles Opera presented the finals concert of Plácido Domingo’s Operalia, the world opera competition. Founded in 1993, the contest endeavors to discover and help launch the careers of the most promising young opera singers of today. Thousands of applicants send in recordings from which forty singers are chosen to perform live in the city where the contest is being held. Last year it was Verona, Italy, this year Los Angeles, next year London.
The second day of the Richard Strauss weekend at the BBC Proms saw Richard
Strauss's Elektra performed at the Royal Albert Hall on 31 August 2014
by the BBC Symphony Orchestra, conducted by Semyon Bychkov, with Christine
Goerke in the title role.
Triumphant! An exceptionally stimulating Mahler Symphony No 2 from Daniel Harding and the Swedish Radio Symphony Orchestra, BBC Prom 57 at the Royal Albert Hall. Harding's Mahler Tenth performances (especially with the Berliner Philharmoniker) are pretty much the benchmark by which all other performances are assessed. Harding's Mahler Second is informed by such an intuitive insight into the whole traverse of the composer's work that, should he get around to doing all ten together, he'll fulfil the long-held dream of "One Grand Symphony", all ten symphonies understood as a coherent progression of developing ideas.
The BBC Proms continued its Richard Strauss celebrations with a performance of his first major operatic success Salome. Nina Stemme led forces from the Deutsche Oper, Berlin,at the Royal Albert Hall on Saturday 30 August 2014,the first of a remarkable pair of Proms which sees Salome and Elektra performed on successive evenings
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.