02 May 2007
Delightful Organ at St Margaret’s Palm Desert
Who says an organ recital cannot be jolly good fun?
The cast of supporting roles was especially strong in the company’s new production of Mozart’s matchless masterpiece
The company uncorks its 40th Anniversary season with a visually and musically satisfying production of Johann Strauss Jr.’s farcical operetta
Although performances of Richard Strauss’s last opera Capriccio have increased in recent time, Lyric Opera of Chicago has not experienced the “Konversationsstück für Musik” during the past twenty odd years.
The former lyric soprano holds up well — and survives the intrusive close-up camerawork of the ‘Live in HD’ transmission
Houston Grand Opera commissioned Cruzar la Cara de la Luna from composer José “Pepe” Martínez, music director of Mariachi Vargas de Tecalitlán, who wrote the text together with Broadway and opera director Leonard Foglia. The work had its world premier in 2010. Since then, it has traveled to several cities including Paris, Chicago, and San Diego.
“Why should I go to hear Plácido Domingo” someone said when Verdi’s I due Foscari was announced by the Royal Opera House. There are very good reasons for doing so.
Music Theatre Wales presented the world premiere of Philip Glass’s The Trial (Kafka) last night at the Linbury, Royal Opera House. Music Theatre Wales started doing Glass in 1989. Their production of Glass’s In the Penal Colony in 2010 was such a success that Glass conceived The Trial specially for the company.
To say that the English Concert’s performance of Handel’s Alcina at the Barbican on 10 October 2014 was hotly anticipated would be an understatement. Sold out for weeks, the performance capitalised on the draw of its two principals Joyce DiDonato and Alice Coote and generated the sort of buzz which the work did at its premiere.
Lyric Opera of Chicago opened its sixtieth anniversary season with a new production of Mozart’s Don Giovanni directed by Artistic Director of the Goodman Theater, Robert Falls.
It was a little over two years ago that I heard Sir Colin Davis conduct the Berlioz Requiem in St Paul’s Cathedral; it was the last time I heard — or indeed saw — him conduct his beloved and loving London Symphony Orchestra.
Part of their Liberty or Death season along with Rossini’s Mose in Egitto and Bizet’s Carmen, Welsh National Opera performed David Pountney’s new production of Rossini’s Guillaume Tell (seen 4 October 2014).
Welsh National Opera’s production of Rossini’s Mose in Egitto was the second of two Rossini operas (the other is Guillaume Tell) performed in tandem for their autumn tour.
In Monteverdi’s first Venetian opera, Il Ritorno d’Ulisse (1641), Penelope’s patient devotion as she waits for the return of her beloved Ulysses culminates in the triumph of love and faithfulness; in contrast, in L’incoronazione di Poppea it is the eponymous Queen’s lust, passion and ambition that prevail.
After the triumphs of love, the surprises: Les Paladins, under their director Jérôme Correas, and soprano Sandrine Piau are following their tour of material from their 2011 CD, ‘Le Triomphe de L’amour’, with a new amatory arrangement.
At the ENO, Puccini's La fanciulla del West becomes The Girl of the Golden West. Hearing this opera in English instead of Italian has its advantages, While we can still hear the exotic, Italianate Madama Butterfly fantasies in the orchestra, in English, we're closer to the original pot-boiler melodrama. Madama Biutterfly is premier cru: The Girl of the Golden West veers closer, at times, to hokum. The new ENO production gets round the implausibility of the plot by engaging with its natural innocence.
Presenting a well-structured and characterful programme, Italian soprano Anna Caterina Antonacci demonstrated her prowess in both soprano and mezzo repertoire in this Wigmore Hall recital, performing European works from the early years of the twentieth century. Assuredly accompanied by her regular pianist Donald Sulzen, Antonacci was self-composed and calm of manner, but also evinced a warmly engaging stage presence throughout.
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.’
Who says an organ recital cannot be jolly good fun?
I might have until recently, but as of January 28 and February 13, 2007 this auditor has a new and pleasurable impression of what pipe organs can be as secular entertainment, even if in a church setting. (Yes, I grew up listening to Stan Kann play the mighty Wurlitzer at the Fox Theatre in St Louis, but that was a movie palace, and in a very different repertory and time.)
A visitor to the California desert cities two hours east of Los Angeles may find the area, in terms of classical music, a cultural wasteland. That has been my impression. Thus in the present winter season two recitals on the superb Quimby organ at St. Margaret’s Church in Palm Desert (nationally known of late as the locus of Gerald Ford’s first funeral), were well appreciated as they were especially excellent in quality.
In January the talented Richard Elliott, a principal organist and musical director of the Mormon Tabernacle in Salt Lake City, held forth on a Sunday afternoon to a full house of 750 that stood and cheered his performance of Mussorgsky’s Pictures at an Exhibition. Originally written for piano, Pictures thrived in an organ arrangement by J. Guillou and K. John, the myriad colors and dynamic effects achieved by Dr Elliott and the 4,274 pipes of Quimby’s remarkable St. Margaret’s instrument provided a promenade through this dramatic musical gallery tour, which was literally incomparable. The ear was constantly surprised by the enormous variety of instrumental sounds and colors pouring from the various registrations chosen by Dr Elliott. “The Great Gate of Kiev,” resounded magnificently, and coming as it did following a section (“Baba Yaga”) played pianissimo, the audience was left in a state of astonished delight.
Quimby’s big 71-rank, electro-pneumatic slider organ is a bit daring given the size of the church’s auditorium; it is almost, but not quite, too large in sound, when full out, for the hall. Thus, the sonic journey from pianissimo to fortissimo is an exciting trek. The balance of tonal quality from lowest to highest notes is especially pleasing; and to hear the powerful low basso tones rolling through the room was thrilling. Nothing is raw or unrefined, every sound is pure music. Organ builder Michael Quimby, headquartered in Missouri, is a small but highly regarded designer-builder, who is presently engaged in the prestigious assignment of restoring the fire-damaged organ in the Cathedral of St John the Divine, in New York City. When Quimby built the Palm Desert organ, a decade ago, it was his most ambitious undertaking to date, he says. He went to great lengths to study the acoustical problems of the ‘dry’ St. Margaret auditorium, making a special trip to England and France to familiarize himself with instruments that overcame similar challenges.
I want to pause here with a disclaimer – I am not tutored in organ arts or technology and have only a layman’s notion of the skills required to perform as an organ virtuoso. But St. Margaret’s quicksilver Quimby instrument strikes me as of singular quality among church organs I’ve heard. Dedicated in 1998, after three years of manufacture, the four manual, 58 stop, 71 rank instrument is precise but warm in tonal quality, perfectly balanced in pitch and color. It is widely versatile – Bach, Buxtehude and classical pieces sound clean and clear, as they should; César Franck and Elgar are warm, mellow and full-toned, and showmen (if I may take that liberty), such as Widor and Vierne are fleet and sparkling. I am in complete sympathy with Dr. Elliott, who announced before his recital, “the only time I am unhappy at St. Margaret’s is when I have to leave this marvelous instrument.” Elliott’s other selections in his Sunday recital included a ‘Trumpet Voluntary’ of John Stanley; Bach and Handel, as well as Elliott’s own hymn arrangements. The Utah artist played with musical muscularity and poise, and he had the entire program from memory. What a treat to hear him and his unique treatment of various scores on the Quimby instrument. Dr. Elliott is featured in some sixteen CD recordings, and has a new solo recital disc coming out on the Mormon Tabernacle Choir label this year.
As if one good thing begets another, February 13 the Scotland-born music master and organist of Westminster Abbey, London, James O’Donnell, provided St. Margaret’s a quite different program that impressed not only with technical brilliance but with nuanced subtlety and elegance. O’Donnell’s many Hyperion recordings testify to his abilities, if not to the sound of the Quimby instrument. For that one can turn to a JVS Recordings CD of Frank Bridge organ music played on the St. Margaret’s Quimby by the American virtuoso, Todd Wilson of Ohio. Listen to this on a big sound system with an extended low-frequency response and plenty of amplification power, and my favorable adjectives may seem inadequate.
Mr. O’Donnell’s program included Buxtehude and Bach; a French group of Franck, Widor and Vierne; a quick dip into the English masters Stanford, Elgar and Walton, and a charming unexpected piece, “Miroir” by Ad Wammes (b, 1953) that added a touch of impressionistic whimsy. The Scottish artist played with remarkable technical mastery, his musical taste and spirit of the highest order, as would be expected from a man in his exalted position in British music.
When one considers most organ scores are not instructed with registration, thus leaving much of the instrumental colors and sounds to the choice of the performer, the magnitude of musical talent required for organ virtuoso performances is awe inspiring. An organist’s tasks are varied and many, and the artist has an unusual degree of creative input. [For audiophiles, my playback for organ and other ‘large’ material includes Thiel 3.6 speakers, a Threshold amp of 300-watts, and a DA converter by Sonic Frontiers of Canada that includes a vacuum tube stage for warmth, all connected with highly efficient top quality Kimber Kable.] After hearing organ music in Palm Desert’s church of St. Margaret, I shall admit to the sin of envy. The only cure, of course, is to hear more, or so Oscar Wilde might advise. This may happen, as next year is the organ’s tenth year, and John Wright, the church’s music master and resident organist, advises interesting plans are being made.
The CD [JAV120], “Frank Bridge and Friends,” recorded at St. Margaret’s in 2000 and still commercially available, is of unusual interest in itself, not only as a handsome demonstration of the Quimby organ. Most of the rarely-heard music is of English composer Frank Bridge (1879-1941), an important teacher of Benjamin Britten. Other selections are by Sir Edward Cuthbert Barstow, Britten, John Nicholson Ireland, Craig Sellar Lang, Sir William Turner Walton and Percy William Whitlock, all late 19th C. or 20th C. U.K. composers, working at a time when organ was a musical sovereign. As to interest and quality, each composer offers worthwhile material, though now and then the Bridge pieces can turn a tad watery and a slow-paced. I liked John Ireland’s ‘Romance’ for its shape and movement, and Walton’s ‘Popular Song’ will delight those familiar with his setting of the Sitwell poem ‘Façade,’ for which the merry tune was written. The better the audio system used in playing back this recording the finer the music will sound, though even the largest home stereo systems cannot approach the magical presence and full range of sound of a pipe organ such as St. Margaret’s in full cry.
King of instruments, indeed!
J. A. VAN SANT/Santa Fe © 2007