Recently in Performances
Presenting a well-structured and characterful programme, Italian soprano Anna Caterina Antonacci demonstrated her prowess in both soprano and mezzo repertoire in this Wigmore Hall recital, performing European works from the early years of the twentieth century. Assuredly accompanied by her regular pianist Donald Sulzen, Antonacci was self-composed and calm of manner, but also evinced a warmly engaging stage presence throughout.
Bold, bright and brash, Moshe Leiser and Patrice Caurier’s Il barbiere di Siviglia tells its story clearly in complementary primary colours.
Bampton Classical Opera’s 2014 double bill neatly balanced drollery and gravity. Rectifying the apparent prevailing indifference to the 300th centenary of Christoph Willibald Gluck birth, Bampton offered a sharp, witty production of the composer’s Il Parnaso confuso, pairing this ‘festa teatrale’ with Ferdinando Bertoni’s more sombre Orfeo.
Harry Christophers and The Sixteen Choir and Orchestra launched the Wigmore Hall’s two-year series, ‘Purcell: A Retrospective’, in splendid style. Flexibility, buoyancy and transparency were the watchwords.
It would be unfair, but one could summarise this concert with the words, ‘Senator, you’re no Leonard Bernstein.’
On September 13, Los Angeles Opera opened its 2014-2015 season with a revival of Marta Domingo’s updated, Art Deco staging of Giuseppe Verdi’s La traviata. It starred Nino Machaidze as Violetta, Arturo Chácon-Cruz as Alfredo, and Plácido Domingo as Giorgio Germont. The conductor was Music Director James Conlon.
In its annual concert previewing the forthcoming season Lyric Opera of Chicago presented its “Stars of Lyric Opera at Millennium Park” during the past weekend to a large audience of enthusiastic listeners.
Come to think of it the 1950‘s were operatically rich years in America compared to other decades in the recent past. Just now the San Francisco Opera laid bare an example, Carlisle Floyd’s Susannah.
Nicholas Hytner’s production of Handel’s Xerxes (Serse) at English National Opera (ENO) is nearly 30 years old, and is the oldest production in ENO’s stable.
On Friday evening September 5, 2014, tenor Stephen Costello and soprano Ailyn Pérez gave a recital to open the San Diego Opera season. After all the threats to close the company down, it was a great joy to great San Diego Opera in its new vibrant, if slightly slimmed down form.
English National Opera’s 2014-15 season kicked off with an ear-piercing orchestral thunderbolt. Brilliant lightning spears sliced through the thick black night, fitfully illuminating the Mediterranean garret-town square where an expectant crowd gather to welcome home their conquering hero.
It is now three and a half years since Anna Nicole was unleashed on the world at the Royal Opera House, Covent Garden.
It was a Druid orgy that overtook the War Memorial. Magnificent singing, revelatory conducting, off-the-wall staging (a compliment, sort of).
There was a quasi-party atmosphere at the Wigmore Hall on Monday evening, when Joyce DiDonato and Antonio Pappano reprised the recital that had kicked off the Hall’s 2014-15 season with reported panache and vim two nights previously. It was standing room only, and although this was a repeat performance there certainly was no lack of freshness and spontaneity: both the American mezzo-soprano and her accompanist know how to communicate and entertain.
In strict architectural terms, the stupendous 2nd century Roman
theatre of Aspendos near Antalya in southern Turkey is not an arena or
amphitheatre at all, so there are not nearly as many ghosts of gored gladiators
or dismembered Christians to disturb the contemporary feng shui as in
other ancient loci of Imperial amusement.
Simon Rattle and the Berlin Philharmonic Orchestra brought their staging of Bach's St Matthew Passion to the BBC Proms at the Royal Albert Hall on Saturday, 6 September 2014.
Every so often an opera fan is treated to a minor miracle, a revelatory performance of a familiar favorite that immediately sweeps all other versions before it.
On August 30, Los Angeles Opera presented the finals concert of Plácido Domingo’s Operalia, the world opera competition. Founded in 1993, the contest endeavors to discover and help launch the careers of the most promising young opera singers of today. Thousands of applicants send in recordings from which forty singers are chosen to perform live in the city where the contest is being held. Last year it was Verona, Italy, this year Los Angeles, next year London.
The second day of the Richard Strauss weekend at the BBC Proms saw Richard
Strauss's Elektra performed at the Royal Albert Hall on 31 August 2014
by the BBC Symphony Orchestra, conducted by Semyon Bychkov, with Christine
Goerke in the title role.
Triumphant! An exceptionally stimulating Mahler Symphony No 2 from Daniel Harding and the Swedish Radio Symphony Orchestra, BBC Prom 57 at the Royal Albert Hall. Harding's Mahler Tenth performances (especially with the Berliner Philharmoniker) are pretty much the benchmark by which all other performances are assessed. Harding's Mahler Second is informed by such an intuitive insight into the whole traverse of the composer's work that, should he get around to doing all ten together, he'll fulfil the long-held dream of "One Grand Symphony", all ten symphonies understood as a coherent progression of developing ideas.
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