Recently in Performances
At a concert in the Cathedral of Saint Joseph in San Jose, California, on August 22, 2014, a few selections preceded the piece the audience had been waiting for: the world premiere of Dolora Zajick’s brand new composition, an opera scene entitled Roads to Zion.
By emphasizing the love between Sun Yat-sen and Soong Ching-ling, Ruo showed us the human side of this universally revered modern Chinese leader. Writer Lindsley Miyoshi has quoted the composer as saying that the opera is “about four kinds of love.” It speaks of affection between friends, between parents and children, between lovers, and between patriots and their country.
In light of the 2012 half-centenary of the premiere in the newly re-built Coventry Cathedral of Benjamin Britten’s War Requiem, the 2013 centennial celebrations of the composer’s own birth, and this year’s commemorations of the commencement of WW1, it is perhaps not surprising that the War Requiem - a work which was long in gestation and which might be seen as a summation of the composer’s musical, political and personal concerns - has been fairly frequently programmed of late. And, given the large, multifarious forces required, the potent juxtaposition of searing English poetry and liturgical Latin, and the profound resonances of the circumstances of the work’s commission and premiere, it would be hard to find a performance, as William Mann declared following the premiere, which was not a ‘momentous occasion’.
Santa Fe opera has presented Carmen in various productions since 1961. This year’s version by Stephen Lawless takes place during the recent past in Northern Mexico near the United States border. The performance on August 6, 2014, featured Ana Maria Martinez as a monumentally sexy Gypsy who was part of a drug smuggling group.
Sir Mark Elder and the Hallé Orchestra persuasively balanced passion and poetry in this absorbing Promenade concert. Elder’s tempi were fairly relaxed but the result was spaciousness rather than ponderousness, with phrases given breadth and substance, and rich orchestral colours permitted to make startling dramatic impact.
Although far from perfect, the performance of Berio’s Sinfonia in the first half of this concert was certainly its high-point; indeed, I rather wish that I had left at the interval, given the tedium induced by Shostakovich’s interminable Fourth Symphony. Still, such was the programme Semyon Bychkov had been intended to conduct. Alas, illness had forced him to withdraw, to be replaced at short notice by Vasily Petrenko.
Handel's Rinaldo was first performed in 1711 at London's King's Theatre. Handel's first opera for London was designed to delight and entertain, combining good tunes, great singing with a rollicking good story. Robert Carsen's 2011 production of the opera for Glyndebourne reflected this with its tongue-in-cheek Harry Potter meets St Trinian's staging.
On August 7, 2014, the Santa Fe Opera presented a double bill of Wolfgang Amadeus Mozart’s The Impresario and Igor Stravinsky’s Le Rossignol (The Nightingale). The Impresario deals with the casting of an opera and Le Rossignol tells the well-known fairy tale about the plain gray bird with an exquisite song.
Utah Festival Opera and Musical Theatre has gifted opera enthusiasts with a thrilling Barber, and I don’t mean . . . of Seville.
In typical Proms fashion, BBC Prom 28 saw Stravinsky's Oedipus Rex performed in an eclectic programme which started with Beethoven's Egmont Overture and also featured Electric Preludes by the contemporary Australian composer Brett Dean. Sakari Oramo,was making the first of his Proms appearances this year, conducting the BBC Symphony Orchestra, BBC Singers and BBC Symphony Chorus.
Santa Fe Opera presented Beethoven’s Fidelio for the first time in 2014. Since the sides of the opera house are open, the audience watched the sun redden the low hanging clouds and set below the Sangre de Cristo mountains while Chief Conductor Harry Bicket led the Santa Fe Opera Orchestra in the rousing overture. At the same time, Alex Penda as the title character readied herself for the ordeal to come as she endeavored to rescue her unjustly imprisoned husband.
Best of the season so far! William Christie and Les Arts Florissants performed Rameau Grand Motets at late night Prom 17.
Twelve years after Opera Holland Park's first production of Francesco Cilea’s Adriana Lecouvreur, the opera made a welcome return.
The Italianate cloister setting at Iford chimes neatly with Monteverdi’s penultimate opera The Return of Ulysses, as the setting cannot but bring to mind those early days of the musical genre.
Once again, we find ourselves thanking an unrepresentable being for Welsh National Opera’s commitment to its mission.
If you don’t have the means to get to the Rossini festival in Pesaro, you would do just as well to come to Indianola, Iowa, where Des Moines Metro Opera festival has devised a heady production of Le Comte Ory that is as long on belly laughs as it is on musical fireworks.
Composed during just a few weeks of the summer of 1926, Janáček’s Slavonic-text Glagolitic Mass was first performed in Brno in December 1927.
With the conclusion of the ROH 2013-14 season on Saturday evening - John Copley’s 40-year old production of La Bohème bringing down the summer curtain - the sun pouring through the gleaming windows of the Floral Hall was a welcome invitation to enjoy a final treat. The Jette Parker Young Artists Summer Showcase offered singers whom we have admired in minor and supporting roles during the past year the opportunity to step into the spotlight.
Many words have already been spent - not all of them on musical matters - on Richard Jones’s Glyndebourne production of Der Rosenkavalier, which last night was transported to the Royal Albert Hall. This was the first time at the Proms that Richard Strauss’s most popular opera had been heard in its entirety and, despite losing two of its principals in transit from Sussex to SW1, this semi-staged performance offered little to fault and much to admire.
Twenty years ago stage director Christopher Alden introduced Rossini’s then forgotten comedy to Southern California audiences in a production that is still remembered. In Aix Alden has revisited this complex work that many critics now consider Rossini’s greatest comedy.
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