Recently in Performances
Roderick Williams’ and Julius Drake’s English Winter Journey seems such a perfect concept that one wonders why no one had previously thought of compiling a sequence of 24 songs by English composers to mirror, complement and discourse with Schubert’s song-cycle of love and loss.
A historical afternoon at the NTR Saturday Matinee occurred with an epic
concert version of Prokofiev’s Soviet Opera Semyon Kotko.
Opening night at the Metropolitan is a gleeful occasion even when the
composer is long gone, but December 1st was an opening for a living composer who
has been making waves around the world and is, gasp, a woman — the second woman
composer ever to have an opera presented at the Met.
For an opera that has never quite made it over the threshold into the ‘canonical’, the adolescent Mozart’s La finta giardiniera has not done badly of late for productions in the UK. In 2014, Glyndebourne presented Frederic Wake-Walker’s take on the eighteen-year-old’s dramma giocoso. Wake-Walker turned the romantic shenanigans and skirmishes into a debate on the nature of reality, in which the director tore off layers of theatrical artifice in order to answer Auden’s rhetorical question, ‘O tell me the truth about love’.
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.
18 Dec 2007
Belfast welcomes a first-rate Messiah
If Belfast in Northern Ireland isn’t a city that immediately springs to mind as a centre of musical excellence then it’s not for want of talent, initiative and professionalism within its cultural community.
It is also a
city busy re-inventing itself after decades of internecine strife and is now
buzzing with the optimism and investment that is part of the “peace
dividend”. At a time of year when many cities in the UK and USA are
churning out moderate and sometimes frankly embarrassing renditions of
Handel’s great work it was a delight to see last Saturday night that the
Ulster Orchestra, under the forward-thinking guidance of Chief Executive
David Byers, had invited a top flight international conductor with excellent
baroque credentials to meld the undoubted talents of its musicians and chorus
with some world class soloists.
Martin Haselböck holds the titles of Vienna Court Organist (shades of
Hapsburg splendour there) and Professor of Organ at the University of Vienna,
but it is his work throughout Europe and the USA (he’s recently been
appointed Music Director of the baroque “Musica Angelica” in Los Angeles)
as a conductor of baroque opera and orchestras that he is best known perhaps.
With just a couple of days of rehearsal with a slimmed-down Ulster Orchestra
and Belfast Philharmonic Choir under Christopher Bell, he obviously gelled
most satisfactorily with both, as on both nights before full houses there was
evidence of like minds working together to produce a nimble, but supremely
eloquent rendition of this iconic work. The modern instrument orchestra
played with great Handelian style and flourish without ever over-doing the
baroque gesture, whilst the choir was almost immaculate in both intonation
and ensemble, with special mention going to the alto section for a
particularly creamy tone. No fuzzy diction in the faster passages, crisp
enunciation throughout, and a sense of true pleasure in singing came though
loud and clear. Messiah is a wonderful platform for solo excellence, but it
stands or falls by the quality of its less starry musicians, and Ulster has
every reason to be proud of its achievements here – they stand comparison
with many higher-profile European ensembles.
With this sort of solid musicianship behind them, it was inevitable that
the soloists would have to shine and really live up to their individual
billings and we were not disappointed, although on the second night there was
perhaps a slightly less ebullient start to proceedings.
Young British tenor Benjamin Hulett is, like his colleagues Deborah York
and David DQ Lee, now based in Germany and his warm, agile voice has been
noticed there in a range of baroque and classical repertoire. At the
Waterfront Hall last night his ease of production was particularly noticeable
in the Part Two recitatives and arias such as “Behold and see if there be
any sorrow” with some lovely unforced high notes being balanced by darker
The one singer in the group who might be termed non-specialist in the
baroque was the American baritone Randall Scarlata. However, he had no
trouble in fitting into this sound world and indeed demonstrated a similar
degree of agility in the coloratura as his colleagues, plus showing some
impressive colouring and expression in the more passionate arias, “Why do
the nations so furiously rage together” being a prime example.
With the first alto aria “But who may abide” the Belfast crowd got
their first taste of the highly promising young countertenor David DQ Lee,
who made such an impression this year in the BBC’s Cardiff Singer of the
World competition. Just a couple of weeks previously they had enjoyed the
more mature talents of Germany’s Andreas Scholl, and in the young
Canadian-Korean’s voice local informed opinion found a fascinating
comparison to enjoy. Lee’s instrument is more in the modern American
tradition of countertenor vocal production, with a warmer, more full-blooded
sound than the English/Germanic one, and his operatic experience to date
appears to colour his interpretations of these classic alto/mezzo arias,
although always with good taste and refinement of line and ornament. Some
elegant phrasing and soft, exquisitely-held cadential notes in “He was
despised” were particularly impressive.
Deborah York’s Handelian credentials are well known and respected
worldwide and if we have heard her less frequently in the UK recently, it is
more due to her present residence in Berlin than any lack of demand within in
these shores. Her bell-like, almost vibrato-free, soprano is not particularly
large, but it has the ability to ping to the farthest corners of a big house,
and the 1800 seats of the Waterfront held no terrors for her. She sang “I
know that my redeemer liveth” with a particularly glistening tone and was
an intriguing contrast to Lee’s more vibrant one in the duet “He shall
feed his flock”.
With music and singing of this standard, Belfast and the Ulster Orchestra
are up there with the best in Europe and America and Handel was well-served
Sue Loder © December 2007