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

Lust for Revenge: Barenboim and Herlitzius fire up Strauss’s Elektra in Berlin

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.

Semyon Bychkov heading to NYC and DC with Glanert and Mahler

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.

Lost Stravinsky re-united with Rimsky-Korsakov, Gergiev, Mariinsky

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.

Philippe Jaroussky at the Wigmore Hall: Baroque cantatas by Telemann and J.S.Bach

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.

The new Queen of the City of Birmingham Symphony Orchestra

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.

Falstaff at Manitoba Opera

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.

Gothic Schubert : Wigmore Hall, London

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.

Rusalka, AZ Opera

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.

First new Ring Cycle in 40 Years, Leipzig

Consistently overshadowed by the neighboring Bayreuth, the far less stuffy Oper Leipzig (Wagner’s birthplace) programmed after forty years their first complete Ring Cycle.

San Jose’s Beta-Carotene Rich Barber

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.

Manon Lescaut at Covent Garden

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.

Fierce in War, dazzling in Peace: Joyce DiDonato at the Concertgebouw

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.

Simplicius Simplicissimus

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.

Lucia di Lammermoor at Lyric Opera of Chicago

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 Offers L A Operagoers Both Ear and Eye Candy

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 in the Late Baroque - Bampton Classical Opera

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.

Soldier Songs in San Diego

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.

Barber of Seville [Hollywood Style] in Los Angeles

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.

Madama Butterfly in San Francisco

A Butterfly for the ages in a Butterfly marred by casting ineptness and lugubrious conducting.

Kiss Me, Kate: Welsh National Opera at the Birmingham Hippodrome

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’.

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):