Subscribe to
Opera Today

Receive articles and news via RSS feeds or email subscription.


facebook-icon.png


twitter_logo[1].gif



9780393088953.png

9780521746472.png

0810888688.gif

0810882728.gif

Recently in Reviews

MOZART 250: the year 1767

Classical Opera’s MOZART 250 project has reached the year 1767. Two years ago, the company embarked upon an epic, 27-year exploration of the music written by Mozart and his contemporaries exactly 250 years previously. The series will incorporate 250th anniversary performances of all Mozart’s important compositions and artistic director Ian Page tells us that as 1767 ‘was the year in which Mozart started to write more substantial works - opera, oratorio, concertos … this will be the first year of MOZART 250 in which Mozart’s own music dominates the programme’.

Monteverdi, Masters and Poets - Imitation and Emulation

‘[T]hey moderated or increased their voices, loud or soft, heavy or light according to the demands of the piece they were singing; now slowing, breaking of sometimes with a gentle sigh, now singing long passages legato or detached, now groups, now leaps, now with long trills, now with short, or again, with sweet running passages sung softly, to which one sometimes heard an echo answer unexpectedly. They accompanied the music and the sentiment with appropriate facial expressions, glances and gestures, with no awkward movements of the mouth or hands or body which might not express the feelings of the song. They made the words clear in such a way that one could hear even the last syllable of every word, which was never interrupted or suppressed by passages or other embellishments.’

Visionary Wagner - The Flying Dutchman, Finnish National Opera

An exceptional Wagner Der fliegende Holländer, so challenging that, at first, it seems shocking. But Kasper Holten's new production, currently at the Finnish National Opera, is also exceptionally intelligent.

Don Quichotte at Chicago Lyric

A welcome addition to Lyric Opera of Chicago’s roster was its recent production of Jules Massenet’s Don Quichotte.

Written on Skin: Royal Opera House

800 years ago, every book was a precious treasure - ‘written on skin’. In George Benjamin’s and Martin Crimp’s 2012 opera, Written on Skin, modern-day archivists search for one such artefact: a legendary 12th-century illustrated vanity project, commissioned by an unnamed Protector to record and celebrate his power.

Madama Butterfly at Staatsoper im Schiller Theater

It was like a “Date Night” at Staatsoper unter den Linden with its return of Eike Gramss’ 2012 production of Puccini’s Madama Butterfly. While I entered the Schiller Theater, the many young couples venturing to the opera together, and emerging afterwards all lovey-dovey and moved by Puccini’s melodramatic romance, encouraged me to think more positively about the future of opera.

It’s the end of the world as we know it: Hannigan & Rattle sing of Death

For the Late Night concert after the Saturday series, fifteen Berliners backed up Barbara Hannigan in yet another adventurous collaboration on a modern rarity with Simon Rattle. I was completely unfamiliar with the French composer, but the performance tonight made me fall in love with Gérard Grisey’s sensually disintegrating soundscape Quatre chants pour franchir le seuil, or “Fours Songs to cross the Threshold”.

A Vocally Extravagant Saturday Night with Berliner Philharmoniker

One of the things I love about the Philharmonie in Berlin, is the normalcy of musical excellence week after week. Very few venues can pull off with such illuminating star wattage. Michael Schade, Anne Schwanewilms, and Barbara Hannigan performed in two concerts with two larger-than-life conductors Thielemann and Rattle. We were taken on three thrilling adventures.

Les Troyens at Lyric Opera of Chicago

Lyric Opera of Chicago’s original and superbly cast production of Hector Berlioz’s Les Troyens has provided the musical public with a treasured opportunity to appreciate one of the great operatic achievements of the nineteenth century.

Merry Christmas, Stephen Leacock

The Little Opera Company opened its 21st season by championing its own, as it presented the world premiere of Winnipeg composer Neil Weisensel’s Merry Christmas, Stephen Leacock.

Bampton Classical Opera 2017

In 2015, Bampton Classical Opera’s production of Salieri’s La grotta di Trofonio - a UK premiere - received well-deserved accolades: ‘a revelation ... the music is magnificent’ (Seen and Heard International), ‘giddily exciting, propelled by wit, charm and bags of joy’ (The Spectator), ‘lively, inventive ... a joy from start to finish’ (The Oxford Times), ‘They have done Salieri proud’ (The Arts Desk) and ‘an enthusiastic performance of riotously spirited music’ (Opera Britannia) were just some of the superlative compliments festooned by the critical press.

The nature of narropera?

How many singers does it take to make an opera? There are single-role operas - Schönberg’s Erwartung (1924) and Eight Songs for a Mad King by Peter Maxwell Davies (1969) spring immediately to mind - and there are operas that just require a pair of performers, such as Rimsky-Korsakov’s Mozart i Salieri (1897) or The Telephone by Menotti (1947).

A Christmas Festival: La Nuova Musica at St John's Smith Square

Now in its 31st year, the 2016 Christmas Festival at St John’s Smith Square has offered sixteen concerts performed by diverse ensembles, among them: the choirs of King’s College, London and Merton College, Oxford; Christchurch Cathedral Choir, Oxford; The Gesualdo Six; The Cardinall’s Musick; The Tallis Scholars; the choirs of Trinity College and Clare College, Cambridge; Tenebrae; Polyphony and the Orchestra of the Age of the Enlightment.

Fleming's Farewell to London: Der Rosenkavalier at the ROH

As 2016 draws to a close, we stand on the cusp of a post-Europe, pre-Trump world. Perhaps we will look back on current times with the nostalgic romanticism of Richard Strauss’s 1911 paean to past glories, comforts and certainties: Der Rosenkavalier.

Loft Opera’s Macbeth: Go for the Singing, Not the Experience

Ah, Loft Opera. It’s part of the experience to wander down many dark streets, confused and lost, in a part of Brooklyn you’ve never been. It is that exclusive—you can’t even find the performance!

A clipped Walküre in Amsterdam

Let’s start by getting a couple of gripes out of the way. First, the final act of Die Walküre does not constitute a full-length concert, even with a distinguished cast and orchestra, and with animated drawings fluttering on a giant screen.

A Leonard Bernstein Delight

When you combine two charismatic New York stage divas with the artistry of Los Angeles Opera, you have a mix that explodes into singing, dancing and an evening of superb entertainment.

An English Winter Journey

Roderick Williams’ and Julius Drake’s English Winter Journey seems such a perfect concept that one wonders why no one had previously thought of compiling a sequence of 24 songs by English composers to mirror, complement and discourse with Schubert’s song-cycle of love and loss.

History Repeating Itself: Prokofiev’s Semyon Kotko, Amsterdam Concertgebouw

A historical afternoon at the NTR Saturday Matinee occurred with an epic concert version of Prokofiev’s Soviet Opera Semyon Kotko.

L’amour de loin at the Metropolitan Opera

Opening night at the Metropolitan is a gleeful occasion even when the composer is long gone, but December 1st was an opening for a living composer who has been making waves around the world and is, gasp, a woman — the second woman composer ever to have an opera presented at the Met.

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):