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

Temple Winter Festival: the Gesualdo Six

‘Gaudete, gaudete!’ - Rejoice, rejoice! - was certainly the underlying spirit of this lunchtime concert at Temple Church, part of the 5th Temple Winter Festival. Whether it was vigorous joy or peaceful contemplation, the Gesualdo Six communicate a reassuring and affirmative celebration of Christ’s birth in a concert which fused medieval and modern concerns, illuminating surprising affinities.

Mark Padmore and Mitsuko Uchida at the Wigmore Hall

The journey is always the same, and never the same. As Ian Bostridge remarks, at the end of his prize-winning book Schubert’s Winter Journey: Anatomy of an Obsession, when the wanderer asks Der Leiermann, “Will you play your hurdy-gurdy to my songs?”, in the final song of Winterreise, the ‘crazy but logical procedure would be to go right back to the beginning of the whole cycle and start all over again’.

Turandot in San Francisco

San Francisco Opera wrapped up its 95th fall opera season just now with a bang up Turandot. It has been a season of hopeful hints that this venerable company may regain some of its former luster.

Daniel Michieletto's Cav and Pag returns to Covent Garden

It felt rather decadent to be sitting in an opera house at 12pm. Even more so given the passion-fuelled excesses of Pietro Mascagni’s Cavalleria Rusticana and Ruggero Leoncavallo’s Pagliacci, which might seem rather too sensual and savage for mid-day consumption.

Manitoba Opera: Madama Butterfly

Manitoba Opera opened its 45th season with Puccini’s Madama Butterfly proving that the aching heart as expressed through art knows no racial or cultural divide, with the Italian composer’s self-avowed favourite opera still able to spread its poetic wings across time and space since its Milan premiere in 1904.

Ian Bostridge and Julius Drake celebrate 25 years of music-making

In 1992, concert promoter Heinz Liebrecht introduced pianist Julius Drake to tenor Ian Bostridge and an acclaimed, inspiring musical partnership was born. On Wenlock Edge formed part of their first programme, at Holkham Hall in Norfolk; and, so, in this recital at Middle Temple Hall, celebrating their 25 years of music-making, the duo included Vaughan Williams’ Housman settings for tenor, piano and string quartet alongside works with a seventeenth-century origin or flavour.

Girls of the Golden West in San Francisco

Not many (maybe any) of the new operas presented by San Francisco Opera over the past 10 years would lure me to the War Memorial Opera House a second time around. But for Girls of the Golden West just now I would be there again tomorrow night and the next, and I am eagerly awaiting all future productions.

DiDonato is superb in Semiramide at Covent Garden

It’s taken a while for Rossini’s Semiramide to reach the Covent Garden stage. The last of the operas which Rossini composed for Italian theatres between 1810-1823, Semiramide has had only one outing at the Royal Opera House since 1887, and that was a concert version in 1986.

Philippe Jaroussky and Ensemble Artaserse at the Wigmore Hall

‘His master’s masterpiece, the work of heaven’: ‘a common fountain’ from which flow ‘pure silver drops’. At the risk of effulgent hyperbole, I’d suggest that Antonio’s image of the blessed governance and purifying power of the French court - in the opening scene of Webster’s The Duchess of Malfi - is also a perfect metaphor for the voice of French countertenor Philippe Jaroussky, as it slips through Handel’s roulades like a silken ribbon.

La Rondine Takes Flight in San Jose

Kudos to San Jose Opera for offering up a wholly winning, consistently captivating new production of Puccini’s seldom performed La Rondine.

Clonter Opera Gala

Clonter’s Opera Gala in the breath-taking beautiful ball-room at the Lansdowne Club in Mayfair was a glamorously glittering smattering of opera – which made me want to run out to every opera in town.  

A New Die Walküre at Lyric Opera of Chicago

From the start of Lyric Opera of Chicago’s splendid, new production of Richard Wagner’s Die Walküre conflict and resolution are portrayed throughout with moving intensity. The central character Brünnhilde is sung by Christine Goerke and her father Wotan by Eric Owens.

As One a Haunting Success in San Diego

San Diego Opera has mined solid gold with its mesmerizing and affecting production of As One, a part of their innovative ‘Detour Series.’

OLF: Songs by Tchaikovsky, Anton Rubinstein, Rachmaninov and Georgy Sviridov

Compared to the oft-explored world of German lieder and French chansons, the songs of Russia are unfairly neglected in recordings and in the concert hall. The raw emotion and expansive lyricism present in much of this repertoire was clearly in evidence at the Holywell Music Room for the penultimate day of the celebrated Oxford Lieder Festival.

Stockhausen’s STIMMUNG and COSMIC PULSES at the Barbican.

This concert was an event on several levels - marking a decade since the death of Stockhausen, the fortieth anniversary (almost to the day) since Singcircle first performed STIMMUNG (at the Round House), and their final public performance of the piece. It was also a rare opportunity to hear (and see) Stockhausen’s last completed purely electronic work, COSMIC PULSES - an overwhelming visual and aural experience that anyone who was at this concert will long remember.

Nico Muhly's Marnie at ENO

Winston Graham’s 1961 novel Marnie was bold for its time. Its themes of sexual repression, psychological suspense and criminality set within the dark social fabric of contemporary Britain are but outlier themes of the anti-heroine’s own narrative of deceit, guilt, multiple identities and blackmail.

TOSCA: A Dramatic Sing-Fest

On November 12, 2017, Arizona Opera presented Giacomo Puccini’s verismo opera, Tosca, in a dramatic production directed by Tara Faircloth. Her production utilized realistic scenery from Seattle Opera and detailed costumes from the New York City Opera. Gregory Allen Hirsch’s lighting made the set look like the church of St. Andrea as some of us may have remembered it from time gone by.

The Lighthouse: Shadwell Opera at Hackney Showroom

‘Only make the reader’s general vision of evil intense enough … and his own experience, his own imagination, his own sympathy … and horror … will supply him quite sufficiently with all the particulars. Make him think the evil, make him think it for himself, and you are released from weak specifications.’

Elisabeth Kulman sings Mahler's Rückert-Lieder with Sir Mark Elder and the Britten Sinfonia

Austrian singer Elisabeth Kulman has had an interesting career trajectory. She began her singing life as a soprano but later shifted to mezzo-soprano/contralto territory. Esteemed on the operatic stage, she relinquished the theatre for the concert platform in 2015, following an accident while rehearsing Tristan.

Tremendous revival of Katie Mitchell's Lucia at the ROH

The morning sickness, miscarriage and maundering wraiths are still present, but Katie Mitchell’s Lucia di Lammermoor, receiving its first revival at the ROH, seems less ‘hysterical’ this time round - and all the more harrowing for it.

OPERA TODAY ARCHIVES »

Performances

Christine Brewer (Photo by Chris Christodoulou courtesy of the BBC)
23 Jul 2008

First Night of the Proms

It’s not so long ago that the opening night of the Proms was given over to a single major choral work, but in more recent times it has become more of an overt opener to the season, presenting a taster menu of the themes running through the season’s subsequent 70-plus concerts.

The First Night of the Proms: Richard Strauss, Festliches Präludium; Mozart, Oboe Concerto in C major (K314); R. Strauss Four Last Songs; Messiaen, La Nativité du Seigneur - Dieu parmi nous; Beethoven, Rondo in B flat for piano and orchestra; Elliott Carter, Caténaires for solo piano; Scriabin, The Poem of Ecstasy

Christine Brewer (soprano), Pierre-Laurent Aimard (piano), Nicholas Daniel (oboe), Wayne Marshall (organ), Royal College of Music Brass, BBC Symphony Orchestra, Jiří Bělohlávek (cond.)

Above: Christine Brewer
All photos by Chris Christodoulou courtesy of the BBC

 

Under their director Jiří Bĕlohlávek, the BBC Symphony Orchestra (with reinforcements from Royal College of Music Brass) opened the concert with Richard Strauss’s Festliches Präludium, a fine choice of overture for such an occasion, grandiose but joyful.

In the Mozart Oboe Concerto (K.314), soloist Nicholas Daniel was bright, witty and full of personality, with some beautiful pianissimi in the slow movement. The orchestral ensemble fell apart at the seams a little on more than one occasion, but overall it was a delight, not spoiled by the half-hearted applause between movements from somewhere in the upper reaches of the hall (which went on to mar the Strauss which followed).

Next on the bill were Strauss’s Vier Letzte Lieder, with a change of soloist: an indisposed Karita Mattila replaced by Christine Brewer. Brewer sings with the BBC SO fairly regularly, and she was a radiant Brünnhilde (in Götterdämmerung) last year at the Proms under Runnicles. Unfortunately, this time something didn’t quite come together – there was no sweep to the phrasing and her top sounded shrill under pressure. Finally in “Beim Schlafengehen” she found some complexity and ‘centre’, and for a few moments she cast a rapt spell... before heading off into “Im Abendrot” in indifferent, fudged German.

Although the Proms offer an eclectic mix of music spanning the breadth of the Western art music repertoire, with the occasional foray into other genres such as jazz, ‘world’ and folk, there are generally some threads to tie much of the season together. In particular, there is usually an attempt to celebrate significant anniversaries of composers’ births and deaths, and one such occasion for 2008 is the centenary of the birth of Olivier Messiaen – indeed, the Frenchman is virtually omnipresent over the course of the season, featuring in twelve more concerts ranging from solo organ works to a visit from the Berlin Philharmonic with the Turangalîla Symphony and a concert performance of the operatic magnum opus Saint-François d’Assise by the Nederlandse Opera.

To introduce the upcoming Messiaen-fest, the second half of the first-night concert was introduced by Wayne Marshall on the Royal Albert Hall’s mighty Willis organ in a fairly earth-shaking account of “ Dieu parmi nous”, the final episode from La Nativité du Seigneur.

Born just one day after Messiaen, the American composer Elliot Carter is still alive and – as far as I know – still composing, in his hundredth year. The UK première of his Caténaires was perhaps the highlight of the concert, a four-minute virtuoso perpetuum mobile for solo piano showing off Pierre-Laurent Aimard’s extraordinary ability. Prior to this, Aimard and the orchestra gave a light-footed and fresh performance of Beethoven’s Rondo in B flat major.

First_Night_Proms_2008.pngFirst Night of the Proms 2008

The Scriabin The Poem of Ecstasy, which concluded the evening was a well-chosen counterbalance to the opening Strauss – full of rich grandeur in brass and tuned percussion.

Ruth Elleson © 2008

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):