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

Le Concert Royal de la Nuit - Ensemble Correspondances

Le Concert Royal de la Nuit with Ensemble Correspondances led by Sébastien Daucé, the glorious culmination of the finest London Festival of the Baroque in years on the theme "Treasures of the Grand Siècle". Le Concert Royal de la Nuit was Louis XIV's announcement that he would be "Roi du Soleil", a ruler whose magnificence would transform France, and the world, in a new age of splendour.

Voices of Revolution – Prokofiev, Exile and Return

Seven, they are Seven , op.30; Violin Concerto no.1 in D minor, op.19; Cantata for the Twentieth Anniverary of the October Revolution, op.74. David Butt Philip (tenor), Pekka Kuusisto (violin), Aidan Oliver (voice of Lenin, chorus director), Philharmonia Voices, Crouch End Festival Chorus, Students of the Royal Welsh College of Music and Drama (military band), Philharmonia Orchestra/Vladimir Ashkenazy (conductor). Royal Festival Hall, London, Sunday 20 May 2018.

Charpentier Histoires sacrées, staged - London Baroque Festival

Marc-Antoine Charpentier Histoires sacrées with Ensemble Correspondances, conducted by Sébastien Daucé, at St John's Smith Square, part of the London Festival of the Baroque 2018. This striking staging, by Vincent Huguet, brought out its austere glory: every bit a treasure of the Grand Siècle, though this grandeur was dedicated not to Sun God but to God.

Aïda in Seattle: don’t mention the war!

When Francesca Zambello presented Aïda at her own Glimmerglass Opera in 2012, her staging was, as they say, “ripped from today’s headlines.” Fighter planes strafed the Egyptian headquarters as the curtain rose, water-boarding was the favored form of interrogation, Radames was executed by lethal injection.

Glyndebourne Festival Opera 2018 opens with Annilese Miskimmon's Madama Butterfly

As the bells rang with romance from the tower of St George’s Chapel, Windsor, the rolling downs of Sussex - which had just acquired a new Duke - echoed with the strains of a rather more bitter-sweet cross-cultural love affair. Glyndebourne Festival Opera’s 2018 season opened with Annilese Miskimmon’s production of Madama Butterfly, first seen during the 2016 Glyndebourne tour and now making its first visit to the main house.

Remembering Debussy

This concert might have been re-titled Remembrance of Musical Times Past: the time, that is, when French song, nurtured in the Proustian Parisian salons, began to gain a foothold in public concert halls. But, the madeleine didn’t quite work its magic on this occasion.

A chiaroscuro Orfeo from Iestyn Davies and La Nuova Musica

‘I sought to restrict the music to its true purpose of serving to give expression to the poetry and to strengthen the dramatic situations, without interrupting the action or hampering it with unnecessary and superfluous ornamentations. […] I believed further that I should devote my greatest effort to seeking to achieve a noble simplicity; and I have avoided parading difficulties at the expense of clarity.’

Lessons in Love and Violence: powerful musical utterances but perplexing dramatic motivations

‘What a thrill -/ My thumb instead of an onion. The top quite gone/ Except for a sort of hinge/ Of skin,/ A flap like a hat,/ Dead white. Then that red plush.’ Those who imagined that Sylvia Plath (‘Cut’, 1962) had achieved unassailable aesthetic peaks in fusing pain - mental and physical - with beauty, might think again after seeing and hearing this, the third, collaboration between composer George Benjamin and dramatist/librettist Martin Crimp: Lessons in Love and Violence.

Les Salons de Pauline Viardot: Sabine Devieilhe at Wigmore Hall

Always in demand on French and international stages, the French soprano Sabine Devieihle is, fortunately, becoming an increasingly frequent visitor to these shores. Her first appearance at Wigmore Hall was last month’s performance of works by Handel with Emmanuelle Haïm’s Le Concert d’Astrée. This lunchtime recital, reflecting the meetings of music and minds which took place at Parisian salon of the nineteenth-century mezzo-soprano Pauline Viardot (1821-1910), was her solo debut at the venue.

Jesus Christ Superstar at Lyric Opera of Chicago

Lyric Opera of Chicago is now featuring as its spring musical Jesus Christ Superstar with music and lyrics by Andrew Lloyd Webber and Tim Rice. The production originated with the Regent’s Park Theatre, London with additional scenery by Bay Productions, U.K. and Commercial Silk International.

Persephone glows with life in Seattle

As a figure in the history of 20th century art, few deserve to be closer to center stage than Ida Rubenbstein. Without her talent, determination, and vast wealth, Ravel’s Boléro, Debussy’s Martyrdom of St. Sebastien, Honegger’s Joan of Arc at the Stake, and Stravinsky’s Perséphone would not exist.

La concordia de’ pianeti: Imperial flattery set to Baroque splendor in Amsterdam

One trusts the banquet following the world premiere of La concordia de’ pianeti proffered some spicy flavors, because Pietro Pariati’s text is so cloying it causes violent stomach-churning. In contrast, Antonio Caldara’s music sparkles and dances like a blaze of crystal chandeliers.

Kathleen Ferrier Awards Final 2018

The 63rd Competition for the Kathleen Ferrier Awards 2018 was an unusually ‘home-grown’ affair. Last year’s Final had brought together singers from the UK, the Commonwealth, Europe, the US and beyond, but the six young singers assembled at Wigmore Hall on Friday evening all originated from the UK.

Affecting and Effective Traviata in San Jose

Opera San Jose capped its consistently enjoyable, artistically accomplished 2017-2018 season with a dramatically thoughtful, musically sound rendition of Verdi’s immortal La traviata.

Brahms Liederabend

At his best, Matthias Goerne does serious (ernst) at least as well as anyone else. He may not be everyone’s first choice as Papageno, although what he brings to the role is compelling indeed, quite different from the blithe clowning of some, arguably much closer to its fundamental sadness. (Is that not, after all, what clowns are about?) Yet, individual taste aside, whom would one choose before him to sing Brahms, let alone the Four Serious Songs?

Angel Blue in La Traviata

One of the most beloved operas of all time, Verdi’s “ La Traviata” has never lost its enduring appeal as a tragic tale of love and loss, as potent today as it was during its Venice premiere in 1853.

Matthias Goerne and Seong-Jin Cho at Wigmore Hall

Is it possible, I wonder, to have too much of a ‘good thing’? Baritone Matthias Goerne can spin an extended vocal line and float a lyrical pianissimo with an unrivalled beauty that astonishes no matter how many times one hears and admires the evenness of line, the controlled legato, the tenderness of tone.

Philip Venables: 4.48 Psychosis

Madness - or perhaps, more widely, insanity - in opera goes back centuries. In Handel’s Orlando (1733) it’s the dimension of a character’s jealousy and betrayal that drives him to the state of delusion and madness. Mozart, in Idomeneo, treats Electra’s descent into mania in a more hostile and despairing way. Foucault would probably define these episodic operatic breakdowns as “melancholic”, ones in which the characters are powerless rather than driven by acts of personal violence or suicide.

European premiere of Unsuk Chin’s Le Chant des enfants des étoiles, with works by Biber and Beethoven

Excellent programming: worthy of Boulez, if hardly for the literal minded. (‘I think you’ll find [stroking chin] Beethoven didn’t know Unsuk Chin’s music, or Heinrich Biber’s. So … what are they doing together then? And … AND … why don’t you use period instruments? I rest my case!’)

Rising Stars in Concert 2018 at Lyric Opera of Chicago

On a recent weekend evening the performers in the current roster of the Patrick G. and Shirley W. Ryan Opera Center at Lyric Opera of Chicago presented a concert of operatic selections showcasing their musical talents. The Lyric Opera Orchestra accompanied the performers and was conducted by Edwin Outwater.

OPERA TODAY ARCHIVES »

Performances

Alessandro Scarlatti
30 Jul 2008

Baroque Oratorio Premieres in New Jersey

For two years, the subdued rumble of anticipation had been building to a forte.

Alessandro Scarlatti: Giuditta
Dolan Performance Hall, The Annunciation Center, the College of St Elizabeth, Morrsistown, New Jersey on Sunday, June 22.

Marjorie Berg (soprano), Daniel Foran (tenor), John Lamb (bass), Mark Hewitt (baritone) and Teresa Giardina (mezzo-soprano), Harmonium Choral Society
The Baroque Orchestra of New Jersey, Robert W. Butts (cond.)

 

Finally, on June 22, at the College of St Elizabeth in Morristown, New Jersey, the Baroque Orchestra of New Jersey presented the modern day premiere of Alessandro Scarlatti’s brilliantly operatic oratorio La Giuditta, here in its earliest and most complete form. Maestro Robert W. Butts edited Scarlatti’s masterpiece from the original 1693 manuscript which is currently in the collection of the National Park Service in Morristown, New Jersey.

Scarlatti’s La Giuditta exists in at least two other versions and has been performed and recorded based on a later abridged manuscript. The more extensive March 1693 manuscript used for Sunday’s performance, was brought to the attention of Maestro Butts by Dr. Jude Phister, Chief of Cultural Resources at the Washington’s Headquarters offices.

Maestro Butts brought the score he edited to life, conducting with sensuality and passion while directing the fluid sounding orchestra through the magical ritornelli which concluded each aria. Soloists from within the orchestra were, in places, almost as memorable as the vocal stars. Most notable was concertmaster Michael Avagliano who played a duet with soprano Marjorie Berg on the work’s most extensive aria ma so ben. He performed several other solo parts in collaboration with other musicians of the ensemble.

Providing poignant and moving melodic interest was Nancy Vanderslice who soloed on oboe and English Horn. Bassoonist Andrew Pecota was also solid both in continuo parts and his few solo moments. Harpsichordist John Pivarnik, too, added much to the success of the performance, constantly on deck and supporting the singers perfectly.

Baritone Mark Hewitt filled in at the last minute after two previous singers pulled out. While it is true that Mr. Hewitt had some problems in voice projection of the lowest tones required of his role as Oloferne, he still delivered a performance of notable dramatic intensity. His interaction with Marjorie Berg (Giuditta) was passionate and believeable. The result was something to be genuinely greatly appreciated.

Marjorie Berg gripped the audience with an emotionally involved portrayal of the title role. Have memorized her entire part, she sang with authority and character, conveying equally well the seductive nature and determination inherent in the part.

Bass John Lamb is a familiar face to early music audiences in the area. He executed the relatively small role of Sacerdote in solid vocal form, displaying an even tone appropriate to the gravity that infuses the character. Both arias and recitatives were sung with conviction and style.

Mezzo Teresa Giardina made her debut with the orchestra as Ozia, the beleaguered prince of Bettulia. Recently graduated from Ithica, Ms. Giardina sang with clarity and emotional beauty in arias of great depth. She was especially memorable in the moving addio libertai of the second act.

Tenor Daniel Foran sang the role of the Captain. His voice produced grace and an elegant warm beauty which was especially winning. Mr Foran has been a frequent performer with the Baroque Orchestra of New Jersey and this performance showed how he’s blossomed in his art. His rendition of dalla patria at the end of Act I was truly unforgettable. Hopefully, he will make the aria a part of his concert and recital repertoire!

Harmonium Choral Society, directed by Anne Matlack, joined in for the final celebratory choruses, adding luster and power to create a rousing finale.

Hearing this deeply moving performance, one can only hope that other singers and ensembles will take this marvelous work into their concert repertoire. The work is filled with beautiful music and is deeply dramatic, practically crying out for a staged interpretation. It was presented here for the first time complete in the modern era. One can only hope it won’t take another three hundred years to hear it completely performed again.

Peter Stevens

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):