Recently in Performances
For their first of two recitals at the Wigmore Hall, Christian Gerhaher and Gerold Huber devised an interesting programme - popular Schubert mixed with songs by Wolfgang Rihm and by Huber himself.
There are not many opera productions that you would cross oceans to see. Graham
Vick’s Götterdämmerung in Sicily however compelled such a voyage.
Premièred in 1877 at Offenbach’s own Théâtre des Bouffes Parisiens, Emmanuel Chabrier’s L’Étoile has a libretto, by Eugène Leterrier and Albert Vanloo, which stirs the blackly comic, the farcical and the bizarre into a surreal melange, blending contemporary satire with the frankly outlandish.
Robert Ashley’s opera-novel Quicksand makes for a novel
One of the leading Russian composers of his generation, Alexander
Raskatov’s reputation in the UK and western Europe derives from several,
recent large-scale compositions, such as his reconstruction of Alfred
Schnittke’s Ninth Symphony from a barely legible manuscript (the work was
first performed in 2007 in the Dresden Frauenkirche by the Dresden Philharmonic
under Dennis Russell Davies), and his 2010 opera A Dog’s Heart,
based on Mikhail Bulgakov’s satire (which was directed by Simon McBurney
at English National Opera in 2010, following the opera’s premiere at
Netherlands Opera earlier that year).
I’m not sure that St John’s Smith Square was the most
appropriate venue for Opera Danube’s latest production: Jacques
Offenbach’s satirical frolic, Orpheus in the Underworld.
This nasty little opera evening in Lyon lived up to the opera’s initial reputation as pure pornophony. This is the erotic Shostakovich of the D minor cello sonata, it is the sarcastic and complicated Shostakovich of The Nose . . .
During December 2015 and presently in January Lyric Opera of Chicago has featured the world premiere of the opera Bel Canto, with music by Jimmy López and libretto by Nilo Cruz, based on the novel by Ann Patchett.
Christmas at the Royal Opera House is all about magic, mystery and miracles: as represented by the conjuror’s exploits in The Nutcracker — with its Kingdom of Sweets and Sugar Plum Fairy — or, as in the Linbury Theatre this year, the fantastical adventures of the Firework-Maker’s Daughter, Lila, and her companions — a lovesick elephant, swashbuckling pirates, tropical beasts and Fire-Fiends.
The title role is a deciding factor in Madama Butterfly. Despite a
last-minute conductor cancellation, last Saturday’s concert performance
at the Concertgebouw was a resounding success, thanks to Lianna
Haroutounian’s opulent, heart-stealing Cio-Cio-San.
With this performance of vocal and instrumental works composed by the
10-year-old Mozart and his contemporaries during 1766, Classical Opera entered
the second year of their 27-year project, MOZART 250, which is
designed to ‘contextualise the development and influences of [sic] the
composer’s artistic personality’ and, more audaciously, to
‘follow the path that subsequently led to some of the greatest
cornerstones of our civilisation’.
Luca Pisaroni and Wolfram Rieger were due to give the latest installment in the Wigmore Hall's complete Schubert songs series, but both had to cancel at short notice. Fortunately, the Wigmore Hall rises to such contingencies, and gave us Benjamin Appl and Jonathan Ware. Since there's a huge buzz about Appl, this was an opportunity to hear more of what he can do.
The phrase ‘Sunday afternoon concert’ may suggest light, post-prandial entertainment, but soprano Gemma Lois Summerfield and her accompanist, Simon Lepper, swept away any such conceptions in this demanding programme at St. John’s Smith Square.
When, o when, will someone put Peter Sellars and his compendium of clichés
out of our misery?
Having recently followed some by-ways through the music of Purcell, Monteverdi and Cavalli, L’Arpeggiata turned the spotlight on traditional folk music in this characteristically vibrant and high-spirited performance at the Wigmore Hall.
Edward Gardner brought all his experience as a choral and opera conductor to bear in this stirring performance of Michael Tippett’s A Child of Our Time at the Barbican Hall, with a fine cast of soloists, the BBC Symphony Orchestra and BBC Symphony Chorus.
‘Apt for voices or viols’: eager to maximise sales among the domestic market in Elizabethan England, publishers emphasised that the music contained in collections such as Thomas Morley’s First Book of Madrigals to Four Voices of 1594 was suitable for performance by any combination of singers and players.
It was a single title but a double bill and there was far more happening than Gordon Getty and Claude Debussy. Starting with Edgar Allen Poe.
For its latest production of the current season Lyric Opera of Chicago is presenting Franz Lehár’s The Merry Widow (Die lustige Witwe) featuring Renée Fleming /Nicole Cabell as the widow Hanna Glawari and Thomas Hampson as Count Danilo Danilovich.
Mezzo-soprano Cecilia Bartoli has been a regular favourite at the Concertgebouw in Amsterdam since 1996. Her verastile concerts are always carefully constructed and delivered with irrepressible energy and artistic
16 Aug 2007
Monteverdi’s “L’Orfeo”, Glimmerglass 2007 — Slattery rises to Alden’s challenging concept
The first masterpiece in the history of opera. That’s a tall order to live up to for any company and for any band of singers, especially those at the beginning of their careers.
But that’s what Glimmerglass Opera is all
about — pushing young singers on the cusp of international careers into the
limelight with challenges of this sort of calibre. Luckily for them, this is
an opera that has enjoyed a wealth of thought-provoking productions all
around the world in the past two decades, and an audience now much more at
ease with early 17th century musical forms than at any time since
L’Orfeo’s first performance 400 years ago.
To quote Gustav Leonhardt, Monteverdi “turned a page of musical history
and started to write a new chapter full of daring harmonies and (previously)
unheard human passions.” Unfortunately there is a dearth of instructions from the composer and so
nothing is writ in stone — yet, down through the years and certainly in the
many 20th and 21st century recordings of L’Orfeo, all
sorts of ideas as to how this juxtaposition of instrument and voice might be
realised have been attempted. However, one thing is certain: he demanded the
supremacy of the individual human voice in its eternal quest for
psychological and dramatic truth. So that too has to be a priority of any
staging: the voices and the story they tell must shine clear and unobstructed
by any misguided directorial conceits.
On that subject, this production directed by one of opera’s current
enfant terribles, Chris Alden, certainly tried the patience of many in the
audience. Having attended its premier at Opera North in England last year, I
was intrigued to see how Alden’s conceits had travelled to this very
different house, and different singers. I wrote then: “You don’t get very
much more classic than the opera that virtually invented the art-form, and
Christopher Alden has most decidedly set out to challenge a few well-worn
notions of this favola in musica.” Indeed he does, and on second
acquaintance, I can’t say that I’m any more enamoured than I was first
time around. It’s patchy; and although the idea of Orfeo as a troubled
artist/singer in some sort of faux ducal palace works very well, the eliding
of certain essential parts of the story — such as Eurydice’s rescue and
second death — just jar the sensibilities too much, as do many of the bits
of rather tired post-modernistic little “business” that the singers have
to carry. Endless yards of sticky tape (to confine Eurydice to Hades and also
to represent the Styx and now played more for laughs) and dozens of un-lit
cigarettes get boring so quickly. Having said that, as this is the
Glimmerglass Orpheus festival, in celebration of the great story’s many
transmogrifications, perhaps the challenging Alden approach is what’s
needed to keep the adrenaline running?
The pivotal and dominating role is of course that of Orfeo himself, where
muse and myth fuse into the legendary singer who descended into the
underworld to bring back his dead wife Eurydice, yet failed in the final
moments. The essential difference between first run in Leeds, and here was
the Orfeo. Paul Nilon in England concentrated on projecting a quite limpid,
gentle, musical soul whose journey and eventual failure seemed oh-so-human
and sympathetic. Here, Michael Slattery, a young American tenor and Juilliard
graduate, was a very different kettle of fish. Resembling more a wild, wilful
and wasted rock star of the 80's or 90's, his lithe body often seeming to
project emotion and nervous energy as clearly as his admirably coloured
tenor. His second act vocal climax, the virtuosic "Possente spirto", where
the singer has to “audition” his way past Caronte at the gates of Hell,
is 10 minutes of some of the most difficult vocal writing that Monteverdi (or
his contemporaries) ever committed to paper. Slattery’s performance was a
lesson in dramatic singing - the young poet/singer grew more desperate, more
anxious, as his words seemed to fail him in his quest. If some tonal beauty
was lost in the service of the drama, then it was a risk worth taking.
He was well supported by some spirited and effective singing from the rest
of the cast, who doubled as the Chorus, although some were more committed to
(and comfortable with) early music performance practice than others. Of note
were Megan Monaghan as Eurydice/Speranza and bass Christopher Temporelli as
Matching them and Slattery in musical commitment was the orchestra under
Antony Walker whose strong musical sense and understanding of idiom enabled
the period instrument-augmented Glimmerglass Opera Orchestra to sound
remarkably “authentic”. At this sort of festival with five widely varying
works in repertory through the summer, one cannot expect scholarly exactitude
from the players or the instruments they use — but with some clever
adjustments (such as substituting the original cornetti with muted piccolo
trumpets) and additions (three theorbos to augment the continuo
accompaniment) Walker and his players gave a most satisfactory approximation
to the real thing.
© Sue Loder 2007
Performances continue August 14th, 17th, 20th, 23rd, and 25th.
For tickets (limited availability): Glimmerglass Opera Box Office
(607) 547-2255 and more information from the website: http://www.glimmerglass.org