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The Wigmore Hall complete Schubert song series continued with a recital by Georg Nigl and Andreas Staier. Staier's a pioneer, promoting the use of fortepiano in Schubert song. In Schubert's time, modern concert pianos didn't exist. Schubert and his contemporaries would have been familiar with a lighter, brighter sound. Over the last 30 years, we've come to better understand Schubert and his world through the insights Staier has given us. His many performances, frequently with Christoph Prégardien at the Wigmore Hall, have always been highlights.
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’.
‘[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’.
25 Apr 2007
Handel Singing Competition Final – London April 23rd
Once again, George Frederick Handel’s old stamping ground of St. George’s Hanover Square, London, resounded last night to the sound of his music as aspiring young singers from all over
the world fought out the Final of the London Handel Singing Competition.
Year on year the
competition’s status has grown and this was reflected last night in both the quality of the singing,
and the quantity of audience there to listen – the place was packed with keen Handelians of all
ages, music agents, directors and critics. Some sixty original young performers had started out
on the audition and knock-out rounds, so the final six singing last night had made it through
against considerable opposition and it showed. What was perhaps most interesting of all was
perusing the contestant’s resumés and noting that two came from Australia, one from South
Africa, one from Portugal and one from Eire.
As with all competitions, what the judges are looking for is not always what is appreciated most
by the audience, but at least the London Handel one acknowledges this with both 1st and 2nd
prizes and also an Audience Prize, given to the singer who gains the most votes in a quick-fire
ballot taken immediately after the singing stops. Last night overall victory went to the only
baritone singing, Derek Welton, the possessor of a fine, robust instrument who concentrated his
fire on shorter oratorio and anthem pieces, with only one excerpt from an opera. His singing was
focused and exact and technically very secure, his wider experience showing, even if he was
rather wooden in his character portrayals. At the other end of the male vocal scale, and
receiving the 2nd prize, was the countertenor Christopher Ainslie who conversely concentrated
on Handel’s great arias for castrato from Serse, Orlando and Tamerlano. His rather elegantly
“English” voice, although slightly covered at times, was complemented by a pleasing stage
presence and flair for interpretation. For the ladies, it came as no surprise when the Audience
Prize was bestowed on the charming Irish soprano, Anna Devin. Her strong interpretive skills
were matched by a strong, secure technique and beautiful vocal tone and she shone in her two
arias from Alcina and Giulio Cesare.
The losing competitors had nothing to be ashamed of – they all sang with credit and commitment
and with great promise for the future: Gilliam Ramm, Joana Seara, sopranos and Julia Riley,
mezzo-soprano. The first named had a big voice, perhaps lacking a little in Handelian style but
impressive nevertheless, Seara from Portugal sang with delightful delicacy and precision, without
too much power however, and Riley seemed to suffer a little from nerves and a rather odd choice
of repertoire in her first items which hardly showed her voice off as they might. Her final aria
from Ariodante showed glimpses of what she may be capable of in time.
As usual all the young singers were accompanied by the very supportive and elegant London
Handel Orchestra, guided by Laurence Cummings.
© Sue Loder 2007