Recently in Performances
Matthew Rose and Gary Matthewman Winterreise: a Parallel Journey at the Wigmore Hall, a recital with extras. Schubert's winter journey reflects the poetry of Wilhelm Müller, where images act as signposts mapping the protagonist's psychological journey.
Donizetti’s Anna Bolena, composed in 1830, didn’t make it to Lisbon until 1843 when there were 14 performances at its magnificent Teatro São Carlos (opened 1793), and there were 17 more performances spread over the next two decades. The entire twentieth century saw but three (3) performances in this European capital.
It is difficult to know where to begin to praise the stunning achievement of Opera San Jose’s West Coast premiere of Silent Night.
Like Carmen, Billy Budd is an operatic personage of such breadth and depth that he becomes unique to everyone. This signals that there is no Billy Budd (or Carmen) who will satisfy everyone. And like Carmen, Billy Budd may be indestructible because the opera will always mean something to someone.
American composer John Adams turns 70 this year. By way of celebration no
less than seven concerts in this season’s NTR ZaterdagMatinee series
feature works by Adams, including this concert version of his first opera,
Nixon in China.
Despite the freshness, passion and directness, and occasional wry quirkiness, of many of the works which formed this lunchtime recital at the Wigmore Hall - given by mezzo-soprano Kathryn Rudge, pianist James Baillieu and viola player Guy Pomeroy - a shadow lingered over the quiet nostalgia and pastoral eloquence of the quintessentially ‘English’ works performed.
'Nobody does Gilbert and Sullivan anymore.’ This was the comment from many of my friends when I mentioned the revival of Mike Leigh's 2015 production of The Pirates of Penzance at English National Opera (ENO). Whilst not completely true (English Touring Opera is doing Patience next month), this reflects the way performances of G&S have rather dropped out of the mainstream. That Leigh's production takes the opera on its own terms and does not try to send it up, made it doubly welcome.
On Feb 3, 2017, Arizona Opera presented Giacomo Puccini’s dramatic opera Madama Butterfly. Sandra Lopez was the naive fifteen-year-old who falls hopelessly in love with the American Naval Officer.
In the last of my three day adventure, I headed to Vienna for the Wiener
Philharmoniker at the Musikverein (my first time!) for Mahler and Brahms.
In Amsterdam legend Janine Jansen and the seventh Principal Conductor of the
Royal Concertgebouw, Daniele Gatti, came together for their first engagement in
a ravishing performance of Berg’s Violin Concerto.
I extravagantly scheduled hearing the Berliner, Concertgebouw Orchestra, and
Wiener Philharmoniker, to hear these three top orchestra perform their series
programmes opening the New Year.
There is no bigger or more prestigious name in avant-garde French theater than Romeo Castellucci (b. 1960), the Italian metteur en scène of this revival of Arthur Honegger’s mystère lyrique, Joan of Arc at the Stake (1938) at the Opéra Nouvel in Lyon.
On January 28, 2017, Los Angeles Opera premiered James Robinson’s nineteen twenties production of Mozart’s The Abduction from the Seraglio, which places the story on the Orient Express. Since Abduction is a work with spoken dialogue like The Magic Flute, the cast sang their music in German and spoke their lines in English.
Fecund Jason, father of his wife Isifile’s twins and as well father of his seductress Medea’s twins, does indeed have a problem — he prefers to sleep with and wed Medea. In this resurrection of the most famous opera of the seventeenth century he evidently also sleeps with Hercules.
A Falstaff that raised-the-bar ever higher, this was a posthumous resurrection of Luca Ronconi’s masterful staging of Verdi’s last opera, the third from last of the 83 operas Ronconi staged during his lifetime (1933-2015). And his third staging of Falstaff following Salzburg in 1993 and Florence in 2006.
One of Aidan Lang’s first initiatives as artistic director of Seattle
Opera was to encourage his board to formulate a “mission statement”
for the fifty-year old company. The document produced was clear, simple, and
anodyne. Seattle Opera would aim above all to create work appealing both to the
emotions and reason of the audience.
Contrary to Stolzi’s multidimensional Parsifal,
Holten’s simple setting of Lohengrin felt timeless with its
focus on the drama between characters. Premiering in 2012, nothing too flashy
and with a clever twist,
Deutsche Oper Berlin (DOB) consistently serves up superlatively sung Wagner
productions. This Fall, its productions of Philipp Stölzl's Parsifal and
Kasper Holten's Lohengrin offered intoxicating musical affairs. Annette Dasch, Klaus Florian Vogt, and Peter Seiffert reached for the stars. Even when it
comes down to last minute replacements, the casting is topnotch.
Donna abbandonata would have been a good title for the first concert of Temple Music’s 2017 Song Series. Indeed, mezzo-soprano Christine Rice seems to be making a habit of playing abandoned women.
The Wigmore Hall complete Schubert song series continued with a recital by Georg Nigl and Andreas Staier. Staier's a pioneer, promoting the use of fortepiano in Schubert song. In Schubert's time, modern concert pianos didn't exist. Schubert and his contemporaries would have been familiar with a lighter, brighter sound. Over the last 30 years, we've come to better understand Schubert and his world through the insights Staier has given us. His many performances, frequently with Christoph Prégardien at the Wigmore Hall, have always been highlights.
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