Recently in Performances
‘[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.’
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.
A welcome addition to Lyric Opera of Chicago’s roster was its recent production of Jules Massenet’s Don Quichotte.
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.
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.
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
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.
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.
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.
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.
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.
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
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.
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.
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.
A historical afternoon at the NTR Saturday Matinee occurred with an epic
concert version of Prokofiev’s Soviet Opera Semyon Kotko.
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.
For an opera that has never quite made it over the threshold into the ‘canonical’, the adolescent Mozart’s La finta giardiniera has not done badly of late for productions in the UK. In 2014, Glyndebourne presented Frederic Wake-Walker’s take on the eighteen-year-old’s dramma giocoso. Wake-Walker turned the romantic shenanigans and skirmishes into a debate on the nature of reality, in which the director tore off layers of theatrical artifice in order to answer Auden’s rhetorical question, ‘O tell me the truth about love’.
As the German language describes so beautifully, a “Schrei aus
tiefstem Herzen” was felt as Evelyn Herlitzius channelled an Elektra
from the depths of her soul.
Heading to N.Y.C and D.C. for its annual performances, the Royal Concertgebouw Orchestra invited Semyon Bychkov to return for his Mahler debut with the Fifth Symphony. Having recently returned from Vienna with praise for their rendition, the orchestra now presented it at their homebase.
05 Feb 2006
Body and Soul - A New “Poppea” in London
Monteverdi’s great work, “L’Incoronazione di Poppea” in a “semi-staged” format, has been chosen to showcase the talents of some exciting young singers and musicians in London recently as the first part of an ambitious project aimed at a more holistic approach to singing opera.
Known as “Il Corpo Cantante” or, less felicitous in English, “the Singing Body”, this project is the brainchild of Ashley Stafford who combines his experience as singer, teacher and osteopath to explore and give singers “a clearer insight into the specific ways in which the physical nature of singing relates to the whole body …. and to explore the links between our imaginative feel for music and the body’s way of transforming that desire …..into creative expressive reality.”
Today’s professional opera houses demand an ever-higher synthesis of both vocal and dramatic artistry - and young singers ignore this at their peril. So the project also aims to give young singers with ambitions as soloists a chance to experience and become better aware of the links between the physical, mental and emotional demands of singing at a professional level. This latter goal was much in evidence at the group’s “Poppea” where the demands of the small but elegant space at the Dutch Church, Austin Friars, London were obvious. The singers had to adapt to low stage just feet from the audience, with only a wooden pulpit structure behind them to be climbed to give occasional height when required by the drama. They also had to enter and exit down the sides in full view of the hall’s packed seats. Some of the singers coped better than others with this rather exposed situation. The excellent small ensemble of 8 musicians, led incisively and elegantly from the harpsichord by the experienced Marco Ozbic, musical director and fellow-creator of the project, were centred at the front of the main aisle - close enough to enable study of both their music and bowing technique by some patrons. Noticeable for his eloquent playing was cellist Simon Wallfisch, and first violin Emma Parker also impressed with a sympathetic ear for the idiosyncrasies of this music.
Marco Ozbic also approached the well-known problem of paucity of orchestration left to us by an ageing Monteverdi (or his assistants) in a positive way. The enigma of the sparse instrumental music in “Poppea” is one of the major difficulties that modern interpreters face as, apart from some unspecified ritornelli, nearly all solo vocal parts are accompanied only by continuo. Ozbic thinks this seems at odds with the colourful instrumentation found in Monteverdi’s earlier operas, and so has compromised very successfully by adding instrumental lines in suitable places that helped produce a most lively and dynamic support for the singers and dramatic action.
However, it became obvious very quickly that there was a significant variation in levels of opera performance experience among the singers; some like Helen Court (sop. Poppea) and Andrew Tortise (tenor, Lucano, soldier and Seneca’s friend) showed that experience by an easy confidence on stage coupled with expressive and technically assured singing. Court in particular was impressive in her characterisation of the conniving Poppea - just the right degree of knowing manipulation without undue over-emphasis.
Others, less experienced but seemingly with plenty of stage confidence already coupled with real vocal talent, such as Charlotte Tetley (mezzo-sop, Ottavia), Revital Raviv (sop.Virtu/Drusilla), James Armitage (ct, Arnalta) and Daniel Keating-Roberts (ct, Amor) seemed to relish the dramatic opportunities that Monteverdi offers. Tetley in particular has both a dramatic soprano voice and stage presence to match. Keating-Roberts has an unusually strong and characterful countertenor which, coupled with an eye for comedy, gave indications of a natural talent in the manner of a Visse or Robson.
Of the less experienced performers, Calvin Wells’ performance as Nerone caught the eye. It is rare for a countertenor, even a high one, to sing this role at pitch, as the composer wrote it; there is much above the staff and it imposes some quite tricky technical demands. It is in fact more of a “male soprano” role, but Wells certainly had the vocal resources to match it, and as he grew out of his understandable nerves and into the character of the emperor in the second and third Acts, one began to hear more clearly what a promising talent he is, given that he will absorb more stagecraft with experience.
More polished, if lacking a little in volume and “bite”, was countertenor Andrew Pickett’s noble and affecting Ottone, well drawn and sympathetic. Timothy Dickinson’s warm and rounded bass-baritone dealt with Seneca’s sonorous low passages with ease although like Wells, he was lacking somewhat in actorly technique at this stage of his career. Lucy Page, Thomas Herford, Gregory Hallam and Elizabeth Graham all acquitted themselves well in the smaller roles with Page switching roles very effectively between Fortuna and a page boy.
A full house gave warm applause to an ambitious production that achieved its goals on all levels.
© S.C. Loder 2006.