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‘[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.
30 Mar 2006
Darkling by American Opera Projects
The East Thirteenth Street Theatre is so unprepossessing that it would be easy to miss it altogether. From the street the entrance looks like an ice cream shop more so than a theatre. The crowded foyer has chairs around little tables and a food service counter.
Behind this façade and through sets of double doors is a dark, intimate theatre with seating on three sides of an open performance area. The stage, which is really just the space in the center of the room, is completely surrounded by translucent screens onto which Hardy’s poem is projected. In this dim, almost secret space, American Opera Projects, Inc. is doing great things. Recently at the East Thirteenth Street Theatre AOP presented Darkling, a new opera that is so multi-layered it defies description.
Anna Rabinowitz’s response to coming into possession of some family letters and postcards dating from the Holocaust was to write the long poem Darkling (2001). Rabinowitz used Thomas Hardy’s poem of 1 January 1900 “The Darkling Thrush” to guide her in the writing of her own poem—specifically, Rabinowitz’s Darkling is a loose acrostic based on Hardy’s poem. In addition to the acrostic, the Hardy poem also inspired the somber mood of Darkling, as well as its moments of brightness.
Director Michael Comlish adapted Darkling to the opera stage, creating a new, multi-media work based completely on Rabinowitz’s poem. At an after-performance Q and A panel with the creators of Darkling, Comlish emphasized that every word was Rabinowitz’s including the aria-like sections, the words spoken by the actor-singers, the texts projected onto the walls of the theatre, and the texts performed on the taped “soundscape.” Through these media, nearly all the lines of the poem Darkling were expressed somewhere in the opera. Comlish worked closely with composer Stefan Weisman and a host of designers to realize his vision for this multi-media event.
Weisman looked to the setting of Hardy’s poem by Lee Hoiby, a song that has been popularized by such luminaries as Leontyne Price and Jean Stapleton. The entire work was concluded with a straightforward performance the Hoiby setting, allowing the audience to access both the musical and poetic works that inspired the various creators of Darkling.
The thirteen performers of Darkling had the difficult task of capturing the audience’s imaginations and hearts without the safeguard of a plot, and they succeed in this admirably. Neither the poem nor the opera has clear narrative thread; rather, according to Rabinowitz, the fragmented nature of the opera reflects the fragmented nature of her poem, which in turn points toward the history told by the letters, postcards, photos, and other documents from her family’s experiences in the Holocaust. The opera, like the letters, allows us to glimpse a small piece of history—the histories of particular individuals and of a war.
In 80 minutes of intense visual and aural stimulation, Darkling achieves moments of powerful emotion. At times I felt moved to tears, though I cannot quite explain all the details that contributed to that because so much was happening simultaneously.
A postcard advertising Darkling features a line from Rabinowitz’s poem, asking “who will acknowledge things of darkness as their own?” Indeed, the work places the onus of understanding and acknowledging on the audience. Through lighting, projection, stage effects, and choreography, the creators of Darkling make the audience a part of the performance, demanding one’s attention at all times.
At the Q and A session, one of the creators on the panel mentioned that Darkling makes abstract ideas and music accessible, to which an audience member replied, and I paraphrase, ‘not really.’ I don’t think this gentleman was criticizing the opera—indeed, it seemed that everyone who stayed to hear the panel really enjoyed it—I think that he was pointing out that the unfamiliarity of the form of the work was disconcerting or disorienting. I suspect that this disorientation was planned all along because by not presenting the story in a linear fashion or filling in any pragmatic details, Darkling requires the listener to engage in some contemplation. The listener gets out of the opera what she or he put into engaging with the material.
There is an optimistic message to be found Darkling. Rabinowitz pointed out at the Q and A that in the Hardy poem the darkling thrush of the title chooses to sing despite the bleakness all around. In Darkling, the Jewish couple whose fate we are following survives the Holocaust almost by accident when they come to America. There is gloom all around them in the form of their loveless marriage and poverty in the United States, but I sense that in a way, this very production is possible only because they struggled on.
Clearly, this is only one reading of an intensely complicated work of art. Bravo to AOP for supporting such controversial and ultimately important work, and to the creative minds that fitted it all together in a thought-provoking way.
The Graduate Center – CUNY