Subscribe to
Opera Today

Receive articles and news via RSS feeds or email subscription.


facebook-icon.png


twitter_logo[1].gif



9780393088953.png

9780521746472.png

0810888688.gif

0810882728.gif

Recently in Performances

Peter Grimes in Princeton

The Princeton Festival presents one opera annually, amidst other events. Its offerings usually alternate annually between 20th century and earlier operas. This year the Festival presented Benjamin Britten’s Peter Grimes, now a classic work, in a very effective and moving production.

Scintillating Strauss in Saint Louis

If you like your Ariadne on Naxos productions as playful as a box of puppies, then Opera Theatre of Saint Louis is the address for you.

Saint Louis Takes On ‘The Scottish Opera’

Opera Theatre of Saint Louis took forty years before attempting Verdi’s Macbeth but judging by the excellence of the current production, it was well worth the wait.

Anatomy Theater: A Most Unusual New Opera

On June 16, 2016, Los Angeles Opera with Beth Morrison Projects presented the world premiere of Pulitzer Prize-winning composer David Lang's Anatomy Theater at the Roy and Edna Disney/CalArts Theater (REDCAT).

Shalimar in St. Louis: Pagliaccio Non Son

In its compact forty-year history, the ambitious Opera Theatre of Saint Louis has just triumphantly presented its twenty-fifth world premiere with Shalimar the Clown.

Jenůfa, ENO

The sharp angles and oddly tilting perspectives of Charles Edwards’ set for David Alden’s production of Jenůfa at ENO suggest a community resting precariously on the security and certainty of its customs, soon to slide from this precipice into social and moral anarchy.

The “Other” Marriage of Figaro in a West Village Townhouse

Last week an audience of 50 assembled in the kitchen of a luxurious West Village townhouse for a performance of Marriage of Figaro.

West Wind: A new song-cycle by Sally Beamish

In a recent article in BBC Music Magazine tenor James Gilchrist reflected on the reason why early-nineteenth-century England produced no corpus of art song to match the German lieder of Schumann, Schubert and others, despite the great flowering of English Romantic poetry during this period.

Florencia en el Amazonas, NYCO

With the New York Premiere of Florencia en el Amazonas, the New York City Opera Steps Out of the Shadows of the Past

Idomeneo, re di Creta, Garsington

Opportunities to see Idomeneo are not so frequent as they might be, certainly not so frequent as they should be.

Don Carlo in San Francisco

Not merely Don Carlo, but the five-act Don Carlo in the 1886 Modena version! The welcomed esotericism of San Francisco Opera’s extraordinary spring season.

Jenůfa in San Francisco

The early summer San Francisco Opera season has the feel of a classy festival. There is an introduction of Spanish director Calixto Bieito to American audiences, a five-act Don Carlo and two awaited, inevitable role debuts, Karita Mattila as Kostelnička and Malin Bystrom as Janacek's Jenůfa.

Musings on the “American Ring

Now that the curtain has long fallen on the third and last performance of the Ring cycle at the Washington National Opera (WNO), it is safe to say that the long-anticipated production has been an unqualified success for the company, director Francesca Zambello, and conductor Philippe Auguin.

Nabucco, Covent Garden

Most of the attention during this revival of Daniele Abbado’s 2013 production of Nabucco has been directed at Plácido Domingo’s reprise of the title role, with the critical reception somewhat mixed.

The Cunning Little Vixen, Glyndebourne

Four years ago, almost to the day (13th to 12th), I saw Melly Still’s production of The Cunning Little Vixen during its first Glyndebourne run. I found myself surprised how much more warmly I responded to it this time.

London: A 90th birthday tribute to Horovitz

This recital celebrated both the work of the Park Lane Group, which has been supporting the careers of outstanding young artists for 60 years, and the 90th birthday of Joseph Horovitz, who was born in Vienna in 1926 and emigrated to England aged 12.

Opera Las Vegas: A Blazing Carmen in the Desert

Headed by General Director Luana DeVol, a world-renowned dramatic soprano, Opera Las Vegas is a relatively new company that presents opera with first-rate casts at the University of Las Vegas’s Judy Bayley Theater. In 2014 they presented Rossini’s The Barber of Seville and in 2015, Puccini’s Madama Butterfly. This year they offered a blazing rendition of Georges Bizet’s Carmen.

La bohème, Opera Holland Park

Ever since a friend was reported as having said he would like something in return for modern-dress Shakespeare (how quaint that term seems now, as if anyone would bat an eyelid!), namely an Elizabethan-dress staging of Look Back in Anger, I have been curious about the possibilities of ‘down-dating’, as I suppose we might call it. Rarely, if ever, do we see it, though.

Holland Festival: Alban Berg’s Wozzeck, Amsterdam

Leading a very muscular Dutch Radio Philharmonic, Principal Conductor Markus Stenz brilliantly delivered Alban Berg’s Wozzeck with a superb Florian Boesch in the lead and a mesmerising Asmik Grigorian as Marie his wife.

Pietro Mascagni: Iris

There can’t be that many operas that start with an extended solo for double bass. At Holland Park, the eerie, angular melody for lone bass player which opens Pietro Mascagni’s Iris immediately unsettled the relaxed mood of the summer evening.

OPERA TODAY ARCHIVES »

Performances

Elora Summer Festival logo
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.

Edward Elgar: The Dream of Gerontius, Op. 38
Elora Summer Festival, 13 July 2007

Kimberly Barber, mezzo-soprano, Michael Colvin, tenor, Tyler Duncan, bass-baritione, The Elora Festival Singers, The Toronto Mendelssohn Choir, The Festival Orchestra, Noel Edison, conductor.

 

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 death.”

Noel-Edison.png
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.

Michael-Colvin.png
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.png
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.

kimberly-barber.png
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

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):