Recently in Performances
With her irresistible cocktail of spontaneity and virtuosity, Cecilia
Bartoli is a beloved favourite of Amsterdam audiences. In triple celebratory
mode, the Italian mezzo-soprano chose Rossini’s La Cenerentola,
whose bicentenary is this year, to mark twenty years of performing at the
Concertgebouw, and her twenty-fifth performance at its Main Hall.
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.
20 Jan 2008
Deborah Voigt in Concert with the San Francisco Symphony
With her performance of the “Four Last Songs,” ably partnered by Michael Tilson Thomas and his San Francisco Symphony, Deborah Voigt emphatically confirmed her place as one of the glories of the current roster of Strauss interpreters.
We are perhaps familiar with a more usual “Liederabend” approach as
furthered by other celebrated sopranos -- you know, the often mewing, cooing,
hushed treatment of every fragile syllable
as-if-they-might-break-if-sung-too-operatically? Such studied wispiness was
little in evidence in Ms. Voigt’s renditions on January 10th. No wilting
violet she, Diva Debbie just flat out really sang ‘em all instead
of over-“interpreting” them. And oh, how she sang! With steady tone of
great presence in all registers and at all gradations of volume; with
generous, soaring, high-flying phrases; with delicate nuance and telling
detail; all of which was characterized by excellent diction and complete
Up against her seasoned Straussian standard then, the SFO was highly
competent if not quite equally successful in essaying this richly detailed
score. Oft times on past occasions I have wished this fine group of musicians
would coalesce into a single-minded band of thrilling music-makers, and often
as not I have found them a bit wanting in artistic vision and ensemble, no
more so than now as they confronted these lush, complex orchestral songs. If
history is a teacher, my past SFO experiences had perhaps taught me that
Maestro Thomas (or “MTT” as he is marketed locally) seems to draw
inspiration from superb soloists more than he appears to impart it routinely
to his players. That was certainly true of such past luminaries as Lang Lang
and Helene Grimaud, with whom he became a true collaborator, and with whom
the orchestra excelled. Here, MTT inexplicably seemed content to allow the
orchestra to be a somewhat aloof accompanist.
That said, there were some very fine orchestral moments to be sure, not
least of which was a peerless violin solo in “Beim Schlafengehen,”
matched by an equally superb horn solo in “Im Abendrot.” (Indeed, the
horns were remarkably wonderful throughout the evening.) Having heard the
Vienna Philharmonic take on this score, the bar was set very high for me,
since those guys absolutely inhabit this music as a seamless ensemble. That
SFO would not be so seamlessly involved was foretold by the concert opener,
Knussen’s Third Symphony. It was dispatched with cool skill, but little
overt joy or passion, the very talented individual musicians shining if
somewhat independent. The Strauss merely continued that semi-detached,
And then something happened. Barber’s seldom heard “Andromache’s
Farewell” knocked us right between the eyes with a well-judged and
committed dramatic reading from our soprano, matched thrill for thrill by
expansive, virtuosic orchestral playing elicited by MTT’s fiery conducting.
(What, did this guy knock back a couple of Red Bull’s at intermission?)
The wonderful, under-valued soprano Martina Arroyo premiered the piece in
1963 to open the new Avery Fisher Hall at Lincoln Center. How enjoyable to
already encounter the vibrant palette of orchestral sounds and effects
(especially the exciting brass fanfares) that the composer would further
refine and put to good use a bit later in his “Antony and Cleopatra”
which opened the new Metropolitan Opera House.
“Andromache’s” dynamic score certainly deserves to be heard more
often. That is, if a dramatic soprano of Ms. Voigt’s bountiful gifts can be
found. It is an interesting and varied scena with well-calculated dramatic
tension; featuring a pleasing balance of signature Barber melodiousness and
parlando passages; and with some sure-fire, slam-bang, full-Geschrei money
notes that stir the soul and tickle the eardrums. And man, does our Diva ever
have those money notes! Million Dollar Baby, baby! It was a singular treat to
hear such a wholly realized, successful undertaking of this rarity.
After the prolonged ovation died down for the Barber, MTT then jumped
right into a Puckish reading of Beethoven’s Fourth with equally pleasing
results. Though it may not have the grandeur or gravitas of the “bookend”
Third and Fifth Symphonies, it was delightful nonetheless, especially in this
playful, inspired interpretation. My persistence in returning to Davies Hall
for yet another concert after those several disappointing near-misses was
amply rewarded this night, for now SFO was indeed not just “playing” but
truly “inhabiting” the music with abandon.
MTT was in his element, inspiring and charismatic, enjoying himself (and
Beethoven) so much that at a couple of points I was thinking he may just
break into some spontaneous Schuhplatten. The orchestra responded in kind
with flawless ensemble playing and sparkling, intricate solo work. (As Ed
Sullivan might say: “How about a hand for that bassoon player? C’mon!”)
The last stinging chord brought a rain of rousing cheers down on the
assemblage, probably not a usual response for the Fourth, which says a lot
for the dazzling magic that MTT and the SFO imbued on a piece of such gentler
After this exciting second half, representing the very best I have ever
heard from this bunch and rivaling any other orchestra in the world, I wanted
to shout “Dude, drink the Red Bull before Act One next time!” And for all
I know, MTT did. . .