Recently in Performances
Four lonely people, bound by love and fate, with inexpressible feelings that boil over in the pressure cooker of war. Àlex Ollé’s conception of Il Trovatore for Dutch National Opera hits the bull’s eye.
This may be the twelfth revival of Jonathan Miller’s 1987 production of Rossini’s The Barber of Seville for English National Opera, but the ready laughter from the auditorium and the fresh musical and dramatic responses from the stage suggest that it will continue to amuse audiences and serve the house well for some time to come.
The third and final instalment of the Academy of Ancient Music’s survey of Monteverdi’s operas at the Barbican began and ended in darkness; the red glow of the single candle was an apt visual frame for a performance which was dedicated to the memory of the late Andrew Porter, the music critic and writer whose learned, pertinent and eloquent words did so much to restore Monteverdi, Cavalli and other neglected music-dramatists to the operatic stage.
English Touring Opera’s recent programming has been ambitious and inventive, and the results have been rewarding. We had two little-known Donizetti operas, The Siege of Calais and The Wild Man of the West Indies, in spring 2015, while autumn 2014 saw the company stage comedy by Haydn (Il mondo della luna) and romantic history by Handel (Ottone).
LA Opera got its season off to an auspicious beginning with starry revivals
of Gianni Schicchi and Pagliacci.
On September 9, 2015, Opera Las Vegas presented James Sohre’s production of Viva Verdi at the Smith Center’s Cabaret Jazz. It was a delightful evening of arias, duets and ensembles by Giuseppe Verdi (1813-1901). The program included many of the composer’s blockbuster arias and scenes from famous operas such as Aida, La traviata, and Macbeth.
On Saturday, September 19, San Diego Opera opened its 2015-2016 season with a recital by tenor René Barbera. This was the first Polly Puterbaugh Emerging Artist Award Recital and no artist could have been more deserving than the immensely talented Barbera.
Did the iconic “off-beat” and “serious” American musical hold the stage of the War Memorial Opera House? The excited audience (standees three deep) thought so and roared their appreciation.
The Wigmore Hall, London, has launched Schubert : The Complete Songs, a 40-concert series to run through the 2015 and 2016 seasons. There have been Schubert marathons before, like BBC Radio 3's all-Schubert week and The Oxford Lieder Festival's Schubert series last year, but the Wigmore Hall series will be a major landmark because the Wigmore Hall is the Wigmore Hall, the epitome of excellence.
Luisa Miller sits on the fringes of the repertory, and since its introduction into the modern repertory in the 1970’s it comes around every 15 or so years. Unfortunately this 2015 San Francisco occasion has not bothered to rethink this remarkable opera.
Demonised by Pushkin and Peter Shaffer, Antonio Salieri lives in the public
imagination as the embittered rival of Wolfgang Amadeus Mozart — whose genius
he lamented and revered in equal measure, and against whom he schemed and
plotted at the Emperor Joseph II’s Viennese court.
The annual concert given by Lyric Opera of Chicago as an outdoor event previewing the forthcoming season took place on 11 September 2015 at Millennium Park.
Orpheus — that Greek hero whose songs could enchant both deities and beasts, whose lyre has become a metaphor for the power of music itself, and whose journey to the Underworld to rescue his wife, Eurydice, kick-started the art of opera in Mantua in 1607 — has been travelling far and wide around the UK in 2015.
One is a quasi-verbatim rendering of J.M. Synge’s bleak tale of a Donegal
family’s fateful dependency on and submission to the deathly power of the
Is there anything that countertenor Iestyn Davies cannot do with his voice?
BBC Proms Youth Choir shines in a performance notable for its magical transparency
The John Wilson Orchestra have been annual summer visitors to the Royal Albert Hall since their Proms debut in 2009 and, with their seductive blend of technical precision, buoyant glitziness and relaxed insouciance, their concerts have become a hugely anticipated fixture and a sure highlight of the Promenade season.
Disappointing staging mars Alice Coote’s vibrant if wayward musical performance
Impresario Boris Goldovsky famously referred to La finta giardiniera as The Phony Farmerette.
At Santa Fe Opera, Donizetti’s effervescent The Daughter of the Regiment can’t quite decide what it wants to be when it grows up.
13 Jul 2008
Grant Park Music Festival: “20th-Century Masters.”
The concert “20th-Century Masters,” presented by the Grant Park Music Festival, Chicago on 27 and 28 June 2008 featured several pieces performed for the first time under the auspices of the Festival.
The first half of the
program was devoted to those very works new to this venue: The Fantasia
on a Theme by Thomas Tallis for Strings by Ralph Vaughan Williams was
followed by Les Illuminations by Benjamin Britten, here sung by
Karina Gauvin with accompanying string orchestra. Both works were given
thoughtful and well-focused performances under the direction of Carlos
Kalmar, Principal Conductor of the Grant Park Music Festival. After
intermission Béla Bártok’s Concerto for Orchestra added yet
another dimension to the variety encompassed in this program of innovative
works composed during the first five decades of the past century.
The soft beginning of Vaughan Williams’s Fantasia indicated,
from the start, a controlled and sensitive performance by the string sections
under Kalmar’s leadership. The clarity of playing by individualized
segments emphasized the effect of groups within a larger composition. In the
first part of the piece the alternations between smaller string groups and
full orchestra were seamless. As an ensemble, the players succeeded in
emphasizing the harmonic complexity of Vaughan Williams’s own variations
balanced against the theme derived from Tallis. During the middle section of
the Fantasia the solo playing, especially by the lead violist and
principal violinist, achieved a thematic counterpoint and repetition as
echoed by other players with successive support from the whole orchestra.
Just as individual lines were varied leading into the final segment, one
could sense Kalmar’s shaping of the gradual descent into a distended
conclusion. A final flourish of melodic repeat by soloists as well as the
full orchestra moved with great effect toward the inexorable and fittingly
The following work in the program, Britten’s Les Illuminations,
was noteworthy for its committed performances by both vocal soloist and
accompanying players. From the first declaration of the repeated verse
“J’ai seul la clef de cette parade” (“I alone have the key to this
parade”) Karina Gauvin established a tone of authority and privileged
vision of the world about which she sang. Set to a selection of texts derived
from two poetic cycles by Arthur Rimbaud, Britten chose poems which move in
tone from that of an ecstatic visionary to a mood of dejected resignation.
Gauvin used her secure vocal range to stunning effect in order both to
comment with the ironic distance of an observer’s voice and to fill out
individual roles or types portrayed in the vision she narrated. After the
introductory “Fanfare,” distinguished by Gauvin’s memorable phrasing
and the violin’s solo, the extended section “Villes” (“Towns”)
depicted humanity caught up in both progress and decay as a symbol of the
contemporary city. As she intoned here the litany of contrasts between the
ancient and the modern, Gauvin accelerated in tempo to catch the near
breathless depiction of lyrical complexity. While hovering above society in
the poem “Phrase” (“Strophe”), the soprano’s quiet introductory
tones were capped by the impeccable high notes of the concluding “et je
danse” (“and now I dance”). Gauvin adapts her voice to the spirit of
each piece, so that she gave an, at times, bell-like rendition to the poem
“Antique” (“Antiquity”), whereas softer, more lyrical phrasing was
evident in “Royauté” (“Royalty”). The movements of a boat’s prow
rising and falling in “Marine” (“Seascape”) were effectively matched
by Gauvin’s effortless scales and runs, the piece ending with a single,
emphatic note on the last vowel of “tourbillons de lumière”
(“whirlpools of light”). The struggles between elemental nature and human
efforts, foolish and tawdry, come to a resolution in the final two poems,
“Parade” and “Départ” (“Departure”). In the first of these
pieces Gauvin’s communication of emotion through song was illustrated
repeatedly. Her skill at acting was also clear in a phrase such as “la
grimace enragée” (“the furious grimace”), in which rage seemed to
suffuse her glance. The song ended with Kalmar’s especially sensitive
direction of the strings supporting Gauvin in the last repetition of the
“key to this parade.” The concluding poem “Départ” gave the singer
yet further opportunity to display lyrical differentiation as tempos slowed
gradually toward a resigned statement of weariness in the phrase “Assez
connu” (“Enough known”). It should be noted here that Gauvin sang the
text of the entire work from memory.
The final piece of the evening, Bártok’s Concerto for
Orchestra, was given a masterful interpretation under Kalmar’s
direction. After a subdued start in the opening Andante, individual
sections of the orchestra blended effectively without sounding overly
controlled. The string section was brought to a shimmer before the dramatic
ending of the first movement. In the second movement, Allegretto
scherzando, the paired instruments played in skillful duets, the
bassoons standing out here especially. The final three movements, each shaped
in keeping with Bártoks’s markings, showcased individual groups of
instruments as punctuated by sweeping phrases from contrasting sections of
the orchestra. The intensification of the final movement was not only
credible, it also brought the individual sections back to a unified
orchestral force. The performance was a fitting conclusion to the evening as