Recently in Performances
As the German language describes so beautifully, a “Schrei aus
tiefstem Herzen” was felt as Evelyn Herlitzius channelled an Elektra
from the depths of her soul.
Heading to N.Y.C and D.C. for its annual performances, the Royal Concertgebouw Orchestra invited Semyon Bychkov to return for his Mahler debut with the Fifth Symphony. Having recently returned from Vienna with praise for their rendition, the orchestra now presented it at their homebase.
Igor Stravinsky's lost Funeral Song, (Chante funèbre) op 5 conducted by Valery Gergiev at the Mariinsky in St Petersburg This extraordinary performance was infinitely more than an ordinary concert, even for a world premiere of an unknown work.
On Tuesday evening this week, I found myself at The Actors Centre in London’s Covent Garden watching a performance of Unknowing, a dramatization of Schumann’s Frauenliebe und Leben and Dichterliebe (in a translation by David Parry, in which Matthew Monaghan directed a baritone and a soprano as they enacted a narrative of love, life and loss. Two days later at the Wigmore Hall I enjoyed a wonderful performance, reviewed here, by countertenor Philippe Jaroussky with Julien Chauvin’s Le Concert de la Loge, of cantatas by Telemann and J.S. Bach.
Here is one of the next new great conductors. That’s a bold statement,
but even the L.A. Times agrees: Mirga Gražinytė-Tyla’s appointment
“is the biggest news in the conducting world.” But Ms. Mirga
Gražinytė-Tyla will be getting a lot of weight on her shoulders.
Manitoba Opera chose to open its 44th season by going for the belly laughs — literally — as it notably presented its inaugural production of Verdi’s Falstaff.
Macabre and moonstruck, Schubert as Goth, with Stuart Jackson, Marcus Farnsworth and James Baillieu at the Wigmore Hall. An exceptionally well-planned programme devised with erudition and wit, executed to equally high standards.
On November 20, 2016, Arizona Opera completed its run of Antonín Dvořák’s fairy Tale opera, Rusalka. Loosely based on Hand Christian Andersen’s The Little Mermaid, Joshua Borths staged it with common objects such as dining room chairs that could be found in the home of a child watching the story unfold.
Consistently overshadowed by the neighboring Bayreuth, the far less stuffy Oper Leipzig (Wagner’s birthplace) programmed after forty years their first complete Ring Cycle.
You didn’t have to know the Bugs Bunny oeuvre to appreciate Opera San Jose’s enchanting Il barbiere di Sivigila, but it sure enhanced your experience if you did.
If there was ever any doubt that Puccini’s Manon is on a road to nowhere, then the closing image of Jonathan Kent’s 2014 production of Manon Lescaut (revived here for the first time, by Paul Higgins) leaves no uncertainty.
Many opera singers are careful to maintain an air of political neutrality. Not so mezzo-soprano Joyce DiDonato, who is outspoken about causes she holds dear. Her latest project, a very personal response to the 2015 terror attacks in Paris, puts her audience through the emotional wringer, but also showers them with musical rewards.
I wonder if Karl Amadeus Hartmann saw something of himself in the young Simplicius Simplicissimus, the eponymous protagonist of his three-scene chamber opera of 1936. Simplicius is in a sort of ‘Holy Fool’ who manages to survive the violence and civil strife of the Thirty Years War (1618-48), largely through dumb chance, and whose truthful pronouncements fall upon the ears of the deluded and oppressive.
For its second opera of the 2016-17 season Lyric Opera of Chicago has staged Gaetano Donizetti’s Lucia di Lammermoor in a production seen at the Maggio Musicale Fiorentino and the Grand Théâtre de Genève.
Akhnaten is the third in composer Philip Glass’s trilogy of operas about people who have made important contributions to society: Albert Einstein in science, Mahatma Gandhi in politics, and Akhnaten in religion. Glass’s three operas are: Einstein on the Beach, Satyagraha, and Akhnaten.
Shakespeare re-imagined for the very Late Baroque, with Bampton Classical Opera at St John's Smith Square. "Shakespeare, Shakespeare, Shakespeare....the God of Our Idolatory". So wrote David Garrick in his Ode to Shakespeare (1759) through which the actor and showman marketed Shakespeare to new audiences, fanning the flames of "Bardolatory". All Europe was soon caught up in the frenzy.
David Little composed his one-man opera, Soldier Songs, ten years ago and the International Festival of Arts & Ideas of New Haven, Connecticut, premiered it in 2011. At San Diego Opera, the fifty-five minute musical presentation and the “Talk Back” that followed it were part of the Shiley dētour Series which is held in the company’s smaller venue, the historic Balboa Theatre.
On Saturday evening November 12, 2016, Pacific Opera Project presented Gioachino Rossini’s comic opera The Barber of Seville in an updated version that placed the action in Hollywood. It was sung in the original Italian but the translation seen as supertitles was specially written to match the characters’ Hollywood identities.
A Butterfly for the ages in a Butterfly marred by casting ineptness and lugubrious conducting.
In 1964, 400 years after the birth of the Bard, the writer Anthony Burgess saw Cole Porter’s musical comedy Kiss Me, Kate, a romping variation on The Taming of the Shrew. Shakespeare’s comedy, Burgess said, had a ‘good playhouse reek about it’, adding ‘the Bard might be regarded as closer to Cole Porter and Broadway razzmatazz’ than to the scholars who were ‘picking him raw’.
28 Aug 2007
The Dream of Gerontius Opens Elora Summer Festival
Written in 1900, Elgar’s Gerontius expresses the universal and existentialist struggle of death and rebirth. The allegorical significance of the piece touches on a need for faith, self-discovery, and acceptance of the world around us.
The Elora Festival, noted for the collaborative efforts of
many great performers and organizations opened its 2007 festival with
Elgar’s magnificent creation. Noel Edison masterfully directed the Elora
Festival Singers, the Toronto Mendelssohn Choir, and the Elora Festival
Orchestra with brilliance, aesthetic dedication, and a tender yet strict
hand. The sensitivity he allotted the soloists is to be commended and his
understanding of the deeper meaning of this piece brilliantly shone in his
exquisite control of the orchestral fabric. The overture began with warm and
burnished hues, painfully weeping celli and well-balanced dark
ombra. The Elgarian timbres were specifically expressed by each
orchestral section, most specifically in the strings as they exemplified the
ethereal and transcendent space Elgar demanded in order to create the
vastness of his masterpiece. Edison paid intelligent heed to the dynamic
inflection and allowed the orchestra to create layered effects leading to
Gerontius’ beautiful entry cry of “Jesu, Maria—I am near to
Noel Edison, Artistic Director of the Elora Festival
Gerontius, sung with elegance and the purity of lyricism by Irish-Canadian
tenor, Michael Colvin, is a taxing role that requires an almost Verdian
thrust but also the most expansive sense of lyrical control. Colvin’s
diction was brilliant and his use of text was especially moving. A free and
impressive upper register, the squillo of his tenore bruciato added
to the dramatic presence of Gerontius. Although this is a concert work,
Colvin was continually in character and indeed most musically presented.
Tenor, Michael Colvin was a sensitive and believable Gerontius.
The combined choruses blended well, with precise diction. Each section
represented an individual unit that contributed to the larger whole and there
was never a sense of unbalance. Edison led them beautifully toward their
inflection of “Of all that makes me man….and crueler still, a fierce and
restless fright begins to fill the mansion of my soul,” where Elgar at once
transforms the music by imbuing atonal suggestions, with turbulent and
exciting orchestration leading into an ethereal moment of relaxation.
The entrance of the priest was significant and wonderfully approached by
bass-baritone, Tyler Duncan. Perhaps the most impressive performer of the
group, his voice spun almost impeccably and was never pushed but floated on
the breath with precision and musical inflection. Impressive indeed for a
lower voice type to exude this type of elegance, there was never any
heaviness and if so it was created by timbre, not pushing or sometimes, what
I call, “barking” baritones.
Tyler Duncan (bass-baritone) was the surprise of the evening.
A most memorable moment at the point where Gerontius’ words mimic those
of Christ in his last moments, “Into Thy hands, O Lord, into Thy
hands…” was so utterly moving that every hair on one’s head stood
completely erect. Duncan’s expression of the Priests, “Go forth in the
name…” was well-expressed as one of Elgar’s most majestic melodies.
Canadian mezzo, Kimberly Barber astonishingly represented God’s Angel.
Part II offered a most expressive response to Part I and much of that is
owed to the performance of the Angel by mezzo-soprano, Kimberly Barber. Her
presence on-stage was riveting and even though she was not in costume one saw
her presence as the Angel, purely and physically. Her eyes never wavered in
their expressive depth and she captivated. Her’s was the presence of calm
and salvation. Her voice blended liquidly with the chorus of Angelicals her
inflection and diction was precise. Her sound was never pushed and her rich
and luscious mezzo was used in a dramatic way, never singing just to project
but rather to express the meaning of the musical lines and the Angel’s
important message. Her “Softly and Gently,” was truly one of the most
compassionate and hair-raising moments of the entire performance. As she
sang, “In my most loving arms I now enfold thee, and o’er the penal
waters, as they roll, I poise thee, and I lower thee, and hold thee,” she
moved many in the audience to tears. Barber enfolded us with her eloquence
and in the end one forgot that this was a singer performing a musical role,
but really Elgar’s Angel.
Mary-Lou P. Vetere, 2007