30 Jul 2008
Baroque Oratorio Premieres in New Jersey
For two years, the subdued rumble of anticipation had been building to a forte.
At this start of the year, Classical Opera embarked upon an ambitious project. MOZART 250 will see the company devote part of its programme each season during the next 27 years to exploring the music by Mozart and his contemporaries which was being written and performed exactly 250 years previously.
The Concordia Foundation was founded in the early 1990s by international singer and broadcaster Gillian Humphreys, out of her ‘real concern for building bridges of friendship and excellence through music and the arts’.
An opera dealing with — or at least claiming to deal with — the events of 11 September 2001? I suppose it had to come, but that does not necessarily make it any more necessary.
On April 10, 2015, Arizona Opera ended its season with La Fille du Régiment at Phoenix Symphony Hall. A passionate Marie, Susannah Biller was a veritable energizer bunny onstage. Her voice is bright and flexible with a good bloom on top and a tiny bit of steel in it. Having created an exciting character, she sang with agility as well as passion.
This second revival of Patrice Caurier and Moshe Leiser’s 2005 production of Rossini’s Il Turco in Italia seems to have every going for it: excellent principals comprising experienced old-hands and exciting new voices, infinite gags and japes, and the visual éclat of Agostino Cavalca’s colour-bursting costumes and Christian Fenouillat’s sunny sets which evoke the style, glamour and ease of La Dolce Vita.
English Touring Opera’s 2015 Spring Tour is audacious and thought-provoking. Alongside La Bohème the company have programmed a revival of their acclaimed 2013 production of Donizetti’s The Siege of Calais (L’assedio di Calais) and the composer’s equally rare The Wild Man of the West Indies (Il furioso all’isola di San Domingo).
Mary Zimmerman’s still-fresh production is made fresher still by Shagimuratova’s glimmering voice, but the acting disappoints
When WNYC’s John Schaefer introduced Meredith Monk’s beloved Panda Chant II, which concluded the four-and-a-half hour Meredith Monk & Friends celebration at Carnegie’s Zankel Hall, he described it as “an expression of joy and musicality” before lamenting the fact that playing it on his radio show could never quite compete with a live performance.
This year’s concert of the Chicago Bach Project, under the aegis of the Soli Deo Gloria Music Foundation, was a presentation of the St. John Passion (BWV 245) at the Harris Theater in Millennium Park.
It is not an everyday opera. It is an opera that illuminates a larger verismo history.
On March 26, 2015, Los Angeles Opera presented Mozart’s Le nozze di Figaro (The Marriage of Figaro). The Ian Judge production featured jewel-colored box sets by Tim Goodchild that threw the voices out into the hall. Only for the finale did the set open up on to a garden that filled the whole stage and at the very end featured actual fireworks.
Gotham Chamber Opera’s latest project, The Tempest Songbook, continues to explore the possibilities of unconventional spaces and unconventional programs that the company has made its hallmark. The results were musically and theatrically thought-provoking, and left me wanting more.
Nixon in China is a three-act opera with a libretto by Alice Goodman and music by John Adams that was first seen at the Houston Grand Opera on October 22, 1987. It was the first of a notable line of operas by the composer.
It is thanks to Céline Ricci, mezzo-soprano and director of Ars Minerva, that we have been able to again hear Daniele Castrovillari’s exquisite melodies because she is the musician who has brought his 1662 opera La Cleopatra to life.
Lyric Opera of Chicago, in association with the Royal Opera House, Covent Garden, has staged a production of Richard Wagner’s Tannhäuser with an estimable cast.
Puccini and his fellow verismo-ists are commonly associated with explosions of unbridled human passion and raw, violent pain, but in this revival (by Justin Way) of Moshe Leiser’s and Patrice Caurier’s 2003 production of Madame Butterfly, directorial understatement together with ravishing scenic beauty are shown to be more potent ways of enabling the sung voice to reveal the emotional depths of human tragedy.
Rarely, very rarely does a Tosca come around that you can get excited about. Sure, sometimes there is good singing, less often good conducting but rarely is there a mise en scène that goes beyond stock opera vocabulary.
The Nash Ensemble’s 50th Anniversary Celebrations at the Wigmore Hall were crowned by a recital that typifies the Nash’s visionary mission. Above, the dearly-loved founder, Amelia Freeman, a quietly revolutionary figure in her own way, who has immeasurably enriched the cultural life of this country.
On March 7, 2015, Arizona Opera presented Dan Rigazzi’s production of Die Zauberflöte in Tucson. Inspired by the works of René Magritte, designer John Pollard filled the stage with various sizes of picture frames, windows, and portals from which he leads us into Mozart and Schikaneder’s dream world.
There are some concert programmes which are not just wonderful in their execution but also delight and satisfy because of the ‘rightness’ of their composition. This Wigmore Hall recital by soprano Carolyn Sampson and three period-instrument experts of arias and instrumental pieces by Henry Purcell was one such occasion.
For two years, the subdued rumble of anticipation had been building to a forte.
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.