Subscribe to
Opera Today

Receive articles and news via RSS feeds or email subscription.


facebook-icon.png


twitter_logo[1].gif



Plumbago_9780993198359_1.png

9780521746472.png

0810888688.gif

0810882728.gif

Recently in Performances

ETO Autumn 2020 Season Announcement: Lyric Solitude

English Touring Opera are delighted to announce a season of lyric monodramas to tour nationally from October to December. The season features music for solo singer and piano by Argento, Britten, Tippett and Shostakovich with a bold and inventive approach to making opera during social distancing.

Love, always: Chanticleer, Live from London … via San Francisco

This tenth of ten Live from London concerts was in fact a recorded live performance from California. It was no less enjoyable for that, and it was also uplifting to learn that this wasn’t in fact the ‘last’ LfL event that we will be able to enjoy, courtesy of VOCES8 and their fellow vocal ensembles (more below …).

Dreams and delusions from Ian Bostridge and Imogen Cooper at Wigmore Hall

Ever since Wigmore Hall announced their superb series of autumn concerts, all streamed live and available free of charge, I’d been looking forward to this song recital by Ian Bostridge and Imogen Cooper.

Treasures of the English Renaissance: Stile Antico, Live from London

Although Stile Antico’s programme article for their Live from London recital introduced their selection from the many treasures of the English Renaissance in the context of the theological debates and upheavals of the Tudor and Elizabethan years, their performance was more evocative of private chamber music than of public liturgy.

A wonderful Wigmore Hall debut by Elizabeth Llewellyn

Evidently, face masks don’t stifle appreciative “Bravo!”s. And, reducing audience numbers doesn’t lower the volume of such acclamations. For, the audience at Wigmore Hall gave soprano Elizabeth Llewellyn and pianist Simon Lepper a greatly deserved warm reception and hearty response following this lunchtime recital of late-Romantic song.

The Sixteen: Music for Reflection, live from Kings Place

For this week’s Live from London vocal recital we moved from the home of VOCES8, St Anne and St Agnes in the City of London, to Kings Place, where The Sixteen - who have been associate artists at the venue for some time - presented a programme of music and words bound together by the theme of ‘reflection’.

Iestyn Davies and Elizabeth Kenny explore Dowland's directness and darkness at Hatfield House

'Such is your divine Disposation that both you excellently understand, and royally entertaine the Exercise of Musicke.’

Paradise Lost: Tête-à-Tête 2020

‘And there was war in heaven: Michael and his angels fought against the dragon; and the dragon fought and his angels, And prevailed not; neither was their place found any more in heaven … that old serpent … Satan, which deceiveth the whole world: he was cast out into the earth, and his angels were cast out with him.’

Joyce DiDonato: Met Stars Live in Concert

There was never any doubt that the fifth of the twelve Met Stars Live in Concert broadcasts was going to be a palpably intense and vivid event, as well as a musically stunning and theatrically enervating experience.

‘Where All Roses Go’: Apollo5, Live from London

‘Love’ was the theme for this Live from London performance by Apollo5. Given the complexity and diversity of that human emotion, and Apollo5’s reputation for versatility and diverse repertoire, ranging from Renaissance choral music to jazz, from contemporary classical works to popular song, it was no surprise that their programme spanned 500 years and several musical styles.

The Academy of St Martin in the Fields 're-connect'

The Academy of St Martin in the Fields have titled their autumn series of eight concerts - which are taking place at 5pm and 7.30pm on two Saturdays each month at their home venue in Trafalgar Square, and being filmed for streaming the following Thursday - ‘re:connect’.

Lucy Crowe and Allan Clayton join Sir Simon Rattle and the LSO at St Luke's

The London Symphony Orchestra opened their Autumn 2020 season with a homage to Oliver Knussen, who died at the age of 66 in July 2018. The programme traced a national musical lineage through the twentieth century, from Britten to Knussen, on to Mark-Anthony Turnage, and entwining the LSO and Rattle too.

Choral Dances: VOCES8, Live from London

With the Live from London digital vocal festival entering the second half of the series, the festival’s host, VOCES8, returned to their home at St Annes and St Agnes in the City of London to present a sequence of ‘Choral Dances’ - vocal music inspired by dance, embracing diverse genres from the Renaissance madrigal to swing jazz.

Royal Opera House Gala Concert

Just a few unison string wriggles from the opening of Mozart’s overture to Le nozze di Figaro are enough to make any opera-lover perch on the edge of their seat, in excited anticipation of the drama in music to come, so there could be no other curtain-raiser for this Gala Concert at the Royal Opera House, the latest instalment from ‘their House’ to ‘our houses’.

Fading: The Gesualdo Six at Live from London

"Before the ending of the day, creator of all things, we pray that, with your accustomed mercy, you may watch over us."

Met Stars Live in Concert: Lise Davidsen at the Oscarshall Palace in Oslo

The doors at The Metropolitan Opera will not open to live audiences until 2021 at the earliest, and the likelihood of normal operatic life resuming in cities around the world looks but a distant dream at present. But, while we may not be invited from our homes into the opera house for some time yet, with its free daily screenings of past productions and its pay-per-view Met Stars Live in Concert series, the Met continues to bring opera into our homes.

Precipice: The Grange Festival

Music-making at this year’s Grange Festival Opera may have fallen silent in June and July, but the country house and extensive grounds of The Grange provided an ideal setting for a weekend of twelve specially conceived ‘promenade’ performances encompassing music and dance.

Monteverdi: The Ache of Love - Live from London

There’s a “slide of harmony” and “all the bones leave your body at that moment and you collapse to the floor, it’s so extraordinary.”

Music for a While: Rowan Pierce and Christopher Glynn at Ryedale Online

“Music for a while, shall all your cares beguile.”

A Musical Reunion at Garsington Opera

The hum of bees rising from myriad scented blooms; gentle strains of birdsong; the cheerful chatter of picnickers beside a still lake; decorous thwacks of leather on willow; song and music floating through the warm evening air.

OPERA TODAY ARCHIVES »

Performances

Sarah Coburn (Photo: © George Mott/Glimmerglass Opera)
16 Aug 2007

Haydn’s L’Anima del Filosofo (Orfeo ed Eurydice) — A rare performance at Glimmerglass this summer, as part of their “Orpheus” 2007 Festival Season

On a cold winter’s day in Vienna, just before Christmas 1790, Mr. Haydn dined with Mr. Mozart for the last time.

F. J. Haydn: L’Anima del Filosofo
Above: Sarah Coburn (Photo: © George Mott/Glimmerglass Opera)

 

Within a year the younger man would be dead, and the older would be in London putting the finishing touches to an opera that never saw the light of day in full public performance until, in 1951 it was staged in Florence with Maria Callas, Boris Christoff and Tygge Tyggeson in the leading roles. This is just part of the strange story of an opera that nearly never was, because although Haydn was fully paid in advance for his version of the Orfeo and Eurydice legend by the London-based impresario and violinist Johann Peter Salomon, it became the victim of politics and critical machinations that finally prevented it from opening at all.

Haydn was happy enough with the project (being paid in advance must have helped) and described the libretto, by Carlo Badini, as “entirely different from that of Glück’s”. What he didn’t say was that said Badini was also famed for his destructive gossip and very influential critical writings which could literally make or break a theatre’s reputation at that time. In this writing of the famous tale, the story starts with Eurydice fleeing the unwanted attentions of her father’s favoured suitor for her, and becoming the focus of Orfeo’s love; however, by the end of Act One she is dead from a snake-bite. The rest of the four acts concern Orfeo’s struggle to retrieve her from Hades, his famous error, and in this version of the tale, his eventual destruction by the Bacchae women, enraged by his avowed shunning of women’s love following his final loss of Eurydice.

There were only 3 main roles in the opera that Haydn wrote — Orfeo, written for leading tenor of the time Giacomo Davide who was described later as possessing “a clear and flexible voice, with an extensive falsetto”, Eurydice, sung by soprano Rosa Lops and the Genio (an oracle/soothsayer figure) who was apparently to be sung by a not-very-good castrato of the time, possibly one Signor Dorelli. Confusingly, by the time the opera came to rehearsal, there was another role included in the MS — that of Creonte, father of Eurydice. Sadly, despite getting to dress-rehearsal, local politics prevented the King’s Theatre from opening on time and Haydn never saw his opera open to the public.

It is no wonder then that this particular operatic version of the famous myth fell into that huge abyss of “forgotten” works as the late18th century geared itself up for the immense musical developments on the horizon. Yet, it is a jewel of its time, with some stunning music as well as dramatic vigour and this 2007 Glimmerglass concert performance has been looked forward to for some time by those who remember or have heard, either Callas in ’51, the 1967 live recording by Dame Joan Sutherland and Nicolai Gedda at the Edinburgh Festival, or of course the more recent revival by Cecilia Bartoli.

However, it was rather a disappointment to find that circumstances and time constraints had yielded some pretty savage cuts here on the shores of Lake Otsego. Michael Macleod, the new General and Artistic Director, explained that he had been anxious to do something meaningful on the traditional Sunday morning slot on Gala Weekend in this his first year at the helm of the Festival Opera. What better than to maintain the ethic of Glimmerglass and make more good music with a little known take on the myth, and better still, a work by one of his great loves, Haydn? Sadly, the time available between the 11 am start and the afternoon matinee at 3 pm of the staged L'Orfeo by Monteverdi meant that the concert performance was truncated with huge swathes of recitative removed. The story was moved on succinctly but prosaically by an on-stage Narrator, and several arias also cut.

What was left seemed more a showcase for soprano Sarah Coburn, an opportunity this technically elegant singer took full advantage of. She sang the arias of Eurydice and the Genio (the latter's big number “Al tuo seno fortunate” being eerily reminiscent of Mozart's Queen of the Night’s) with precision (mostly) and vocal poise. Not exciting, but obviously well-read and produced with only fleeting glances at the score before her. Equally effective was the baritone of young Corey Crider as Creonte. Much less successful was the Orfeo of tenor Norman Shankle, who appeared both nervous and under-prepared, his hands (and eyes) never far from the printed music, and his production sounding unsure and tentative, at best. This curate’s egg of a production was held together by some nice idiomatic playing by the Opera Orchestra, with special mention going to the flutes, under the shared batons of Antony Walker and Anne Manson.

Mr. MacLeod explained afterwards that the reason for the split duties for the conductors was part of a process of selection for vacant post of the Festival’s next Music Director. Whatever the reason, it was a rather novel experience for the audience as the two conductors had two very different styles, although it was hard to split them on the resultant sound.

The performance is repeated on the 19th August.

© Sue Loder 2007

For tickets (limited availability): Glimmerglass Opera Box Office (607) 547-2255 and more information from the website: http://www.glimmerglass.org/Haydn.html

Send to a friend

Send a link to this article to a friend with an optional message.

Friend's Email Address: (required)

Your Email Address: (required)

Message (optional):