02 May 2007
Delightful Organ at St Margaret’s Palm Desert
Who says an organ recital cannot be jolly good fun?
Having enjoyed superb singing by a young cast of soloists in Classical Opera’s UK premiere of Jommelli’s Il Vogoleso the previous evening, I was delighted that the 2016 Kathleen Ferrier Awards Final at the Wigmore Hall confirmed the strength and depth of talent possessed by the young singers studying in and emerging from our academies and conservatoires.
On February 7, 1786, Emperor Joseph II of Austria had brand new one-act operas by Wolfgang Amadeus Mozart and Antonio Salieri performed in the Schönbrunn Palace’s Orangery.
Those poor opera lovers in Cologne have a never ending problem with the city’s opera house. Together with the rest of city, the construction of the new opera house is mired in political incompetence.
London remains starved of Wagner. This season, its major companies offer but two works, Tannhäuser from the Royal Opera and Tristan from ENO.
Dmitry Bertman’s hilarious staging of Rimsky-Korsakov’s political sex-comedy The Golden Cockerel in Düsseldorf.
On April 16, 2016, San Diego Opera presented Giacomo Puccini’s sixth opera, Madama Butterfly, in an intriguing production by Garnett Bruce. Roberto Oswald’s scenery included the usual Japanese styled house with many sliding doors and walls. On either side, however, were blooming cherry trees with rough trunks and gnarled branches that looked as though they had been growing on the property for a hundred years.
New Co-Production Tristan und Isolde with Metropolitan: Simon Rattle and Westbroek electrify Treliński’s Opera-Noir.
In an operatic world crowded with sure-fire bread and butter repertoire, Opera San Jose has boldly chosen to lavish a new production on a dark horse, Andre Previn’s A Streetcar Named Desire.
Choral symphony, oratorio, symphonic poem — Berlioz’s Roméo et Juliette does not fit into any mould. It has the potential to work as an opera-ballet, but incoherent storytelling and uninspired conducting undermined this production.
When Kasper Holten took the precaution of pre-warning ticket-holders that the Royal Opera House’s new production of Lucia di Lammermoor featured scene portraying ‘sexual acts’ and ‘violence’, one assumed that he was aiming to avert a re-run of the jeering and hectoring that accompanied last season’s Guillaume Tell. He even went so far as to offer concerned patrons a refund.
These are five very different reviews by students at the University of Maryland on its Opera Studio production of Regina — an interesting, informative and entertaining read . . .
‘Remember me, the one who is Pia;/ Siena made me, Maremma undid me.’ The speaker is Pia de’ Tolomei. She appears in a brief episode of Dante’s Divine Comedy (Purgatorio V, 130-136) which was the source for Gaetano Donizetti’s Pia de’ Tolomei - by way of Bartolomeo Sestini’s verse-novella of 1825.
"The large measure of formalism which forms the basis of De Materie does not in itself offer any guarantee that the work will be beautiful," says Dutch composer Louis Andriessen of his four-movement opera.
On April 1, 2016, Arizona Opera presented Falstaff by Giuseppe Verdi (1813-1901) and Arrigo Boito (1842-1918) in Phoenix. Although Boito based most of his libretto on Shakespeare’s The Merry Wives of Windsor, he used material from Henry IV as well. Verdi wrote the music when he was close to the age of eighty. He was concerned about his ability at that advanced age, but he was immensely pleased with Boito’s text and decided to compose his second comedy, despite the fact that his first, Un giorno di regno, had not been successful.
The brand new SF Opera Lab opened last month with artist William Kentridge’s staged Schubert Winterreise. Its second production just now, Svadba-Wedding — an a cappella opera for six female voices — unabashedly exposes the space in a different, non-theatrical configuration.
One may think of Tosca as the most Roman of all operas, after all it has been performed at the Teatro Costanzi (Rome’s opera house) well over a thousand times since 1900. Though equally, maybe even more Roman is Hector Berlioz’ Benvenuto Cellini that has had only a dozen or so performances in Rome since 1838.
Roll up! A new opera by Handel is to be performed, L’Elpidia overo li rivali generosi. It is based upon a libretto by Apostolo Zeno with music by Leonardo Vinci - excepting a couple of arias by Giuseppe Orlandini and, additionally, two from Antonio Lotti’s Teofane (which the star bass, Giuseppe Maria Boschi , on bringing with him from the Dresden production of 1719).
Radvanovsky in New York, Devia in Genoa — Donizetti queens are indeed in the news! Just now in Genoa Mariella Devia was the Elizabeth I for her beloved Roberto Devereux in a new trilogy of Donizetti queens (Maria Stuarda and Anne Bolena) directed by baritone Alfonso Antoniozzi.
‘All men become like their mothers. That is their tragedy. No man does. That is his.’ ‘Is that clever?’ ‘It is perfectly phrased!’
Evolving in Mahler’s Third: Dudamel and L.A. Philharmonic’s impressive adaption to the Concertgebouw
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