Recently in Performances
In its ongoing celebration of Verdi’s centennial year, the Los Angeles Opera offered a new production of Falstaff, the composer’s last and most brilliant opera — brilliant in every scintillating, sparkling sense of the word.
Poor Weber: opera companies, especially in England, do him anything but proud.
Acis and Galatea was one of Handel’s most popular works, frequently revived in his life time and beyond.
German tenor Werner Güra, who has made a speciality of the German lieder repertoire, opened this recital at the Wigmore Hall with Beethoven’s An Die Ferne Geliebte, the composer’s only song cycle and the first significant example of the form.
It’s been renamed “The Gershwins' Porgy and Bess,” it hails itself as “The American Musical” and further qualifies itself as “The Porgy and Bess for the Twenty-First Century.”
Richard Wagner wrote: "The voyage through the Norwegian reefs made a wonderful impression on my imagination; the legend of the Flying Dutchman, which the sailors verified, took on a distinctive, strange coloring that only my sea adventures could have given it.”
‘If she is adulterous, why is she praised? If chaste, why was she put to death?’
On Remembrance Sunday, Semyon Bychkov conducted Benjamin Britten's War Requiem at the Royal Albert Hall with Roderick Williams, Allan Clayton, Sabrina Cvilak, the BBC Symphony Orchestra, the BBC Symphony Chorus, Crouch End Festival Chorus and choristers of Westminster Abbey.
The mantle of tenor Peter Pears’ legacy hung heavily over his immediate ‘successors’, as they performed music that had been composed by Benjamin Britten for the man to whom he avowed, ‘I write every note with your heavenly voice in my head’.
One year since the launch of their project to create a contemporary book of Italians madrigals, vocal ensemble Exaudi returned to the Wigmore Hall to present an intermingling of old and new madrigals which was typically inventive, virtuosic and compelling.
Mozart’s The Magic Flute at the Coliseum could give the ENO a welcome boost.
Lyric Opera of Chicago’s current new production of Giacomo Puccini’s Madama Butterfly, an effort shared with Houston Grand Opera and the Grand Théâtre de Genève, tends to emphasize emotional involvements against a backdrop of spare sets.
Dmitri Shostakovich’s opera, The Nose, based on Gogol’s short story of the same name, was a smash hit for the Metropolitan Opera company in 2010 and once again, this season.
There might not be much ‘Serenissima’ about Yoshi Oida’s 2007 production of Death in Venice — it’s more Japanese minimalism than Venetian splendour — but there is still plenty to admire, as this excellent revival by Opera North as part of its centennial celebration, Festival of Britten, underlines.
With an absorbing production of Peter Grimes and a freshly spontaneous La bohème, Canadian Opera Company has set the bar very high indeed for its current season.
Whatever you think of some of the Metropolitan Opera’s recent productions, you cannot fault the Gelb administration for fearing to take risks.
The lustreless white tiles of the laboratory which forms the set of Keith Warner’s pitiless staging of Alban Berg’s Wozzeck offer little respite — cold, hard, rigid and severe, they are a material embodiment of the bleakness and barrenness of the tragic events which will be played out within the workshop walls (sets by Stefanos Lazaridis).
At this year’s Wexford Festival — the 62nd operatic gathering in this small south-eastern Irish town - the trio of operas on show present many a wretched battle between duty and desire.
At the heart of this Wigmore Hall recital were two sacred vocal works for solo countertenor and small instrumental forces, recently recorded by Florilegium and Robin Blaze to considerable critical acclaim: J.S. Bach’s cantata ‘Vergnügte Ruh, beliebte Seelenlust’ and Giovanni Battista Pergolesi’s ‘Salve Regina’.
After the bitter disappointment of
30 Jul 2008
Grant Park Music Festival: Sibelius, Szymanowski, Tchaikovsky
For its ninth program of the Summer 2008 season the Grant Park Music Festival offered a balance of vocal, choral, and orchestral works from the late nineteenth and first half of the twentieth centuries.
The concert of
both familiar and lesser known works was led by guest conductor Hannu Lintu.
In the first half of the program the Grant Park Chorus was showcased in a
performance of The Captive Queen, a cantata for mixed chorus and
orchestra by Jean Sibelius. Also in this half of the evening the soloists
Jonita Lattimore, Susan Platts, and Quinn Kelsey were featured along with the
Chorus and Orchestra in a moving performance of Karol Szymanowski’s
Stabat Mater. The program continued after intermission with Lintu
conducting a sensitive and appropriately energetic reading of Tchaikovsky’s
Both vocal works during the first half of the concert were being performed
for the first time at the Grant Park Festival; indeed both are works that can
be described as worthy of further discovery, here or at other concert venues,
for they are featured infrequently in such programs. In Sibelius’s
Captive Queen the political or national is wedded to both the
dramatic and the lyrical through the media of text and music. Based on verses
by the Finnish poet Cajander, the queen of the title symbolizes the Finnish
language which had been suppressed under Russian domination. In the first of
three parts as set by Sibelius the queen is portrayed as prisoner in a dreary
and near lifeless castle. Ironically, only in the “calm of night,” when
no daylight is perceived, can the plaintive song of the queen be heard in
which she laments the loss of beauty and of freedom. Sibelius scored this
part of the ballad, as termed in the Fesitval’s program, for an intricate
sequence of full alternating with female chorus. Under Lintu’s direction
the orchestra and mixed chorus established a believable mood of sadness
punctuated by female voices recalling in somber tomes a happier past, when
freedom and hope predominated.
Here the interplay of dramatic and lyric effects by the Grant Park Chorus
was especially poignant, just as it set the tone for the narrative of the
following two parts. At the same time orchestral solos enhanced the message
of a yearning for earlier beauty, strings and flutes standing out especially.
The second and third poetic divisions of the work give details of a wandering
singer, a “prince of poets,” who heard the queen’s lament as he passed
by the castle; the minstrel is inspired to take up his singing again and to
create emotion through poetry. In the third part a hero, armed for action,
arrives to liberate the queen and to begin a new phase of freedom in the life
of the people. As possibilities of hope emerged in these latter two narrative
sections, the Grant Park Orchestra gave an appropriately lush accompaniment
to the chorus, night giving way to morning and to the future.
The evening’s second work, the Stabat Mater of Szymanowski, was
indeed based on the medieval Latin sequence but set by the composer to a
Polish adaptation by Josef Jankowski. Szymanowski worked on the setting
during 1925-26, the piece having its first public performance in 1929. The
soloists in the Grant Park performance stood out for their attention to
textual detail and skill at presenting a unified approach in this
twentieth-century adaptation of an ageless set of motifs. Each singer
fulfilled a demanding vocal part while blending with the others to
communicate a synthesis of religious dignity inherent in the text. After the
slow, almost eerie, beginning in the strings Jonita Lattimore used her voice
to great effect in order to establish the mood of the piece in the first
part. Ms. Lattimore’s voice softened tenderly at the words indicating
“where her Son was hanging,” while her expressive high notes stood out
against a choral background in the text equivalent to the verse “Mother of
the only-begotten Son.” In each of the six parts the soloists interacted
seamlessly both with the chorus and with each other in depicting the Virgin
Mother’s sorrow as well as the reaction of those in empathy with her grief.
In the second and fifth parts Quinn Kelsey’s flexible baritone described
the emotions of others who could not help but weep together with the Mother
at her loss. While making use of a declamatory effect, Mr. Kelsey maintained
a firm lyrical control, so that his lines remained both supple and highly
dramatic. The mezzo-soprano Susan Platts sang together in alternating parts
with Ms. Lattimore in the third and fourth divisions of the Stabat
Mater. The rich and burnished tones achieved by Ms. Platts lent an
appropriate contrast to the soprano part, and both voices merged effectively
when accompanied by the chorus. In much the same way, the sixth and
concluding part of the work allowed each soloist to give a final plea, upon
individual death, to reach the “glory of heaven.” Ms. Lattimore’s
heart-rending piano line was varied in equally moving performance by
Ms. Platts and Mr. Kelsey as the piece came to an end.
In contrast to the first half of the program, the Sixth Symphony of
Tchaikovsky has been part of this Festival’s repertoire for some seventy
odd years. In the performance under Hannu Lintu the transitions between
adagio and allegro in the first movement gave a natural and
convincing impression. The effect of small melodic units interweaving and
alternating with the full orchestra suggested a recurrent sense of
melancholy. The middle two movements were led by a light touch where
appropriate with sprightly rhythms punctuated by longer and carefully shaped
phrases. In approaching the well-known finale of the third movement Lintu
paced the orchestra with crisp tempos and growing intensity. The final
movement recalled effectively the melancholic mood of the first part, its
performance giving a sense of closure to both the Symphony and to the