Recently in Performances
Premièred in 1877 at Offenbach’s own Théâtre des Bouffes Parisiens, Emmanuel Chabrier’s L’Étoile has a libretto, by Eugène Leterrier and Albert Vanloo, which stirs the blackly comic, the farcical and the bizarre into a surreal melange, blending contemporary satire with the frankly outlandish.
Robert Ashley’s opera-novel Quicksand makes for a novel
One of the leading Russian composers of his generation, Alexander
Raskatov’s reputation in the UK and western Europe derives from several,
recent large-scale compositions, such as his reconstruction of Alfred
Schnittke’s Ninth Symphony from a barely legible manuscript (the work was
first performed in 2007 in the Dresden Frauenkirche by the Dresden Philharmonic
under Dennis Russell Davies), and his 2010 opera A Dog’s Heart,
based on Mikhail Bulgakov’s satire (which was directed by Simon McBurney
at English National Opera in 2010, following the opera’s premiere at
Netherlands Opera earlier that year).
I’m not sure that St John’s Smith Square was the most
appropriate venue for Opera Danube’s latest production: Jacques
Offenbach’s satirical frolic, Orpheus in the Underworld.
This nasty little opera evening in Lyon lived up to the opera’s initial reputation as pure pornophony. This is the erotic Shostakovich of the D minor cello sonata, it is the sarcastic and complicated Shostakovich of The Nose . . .
During December 2015 and presently in January Lyric Opera of Chicago has featured the world premiere of the opera Bel Canto, with music by Jimmy López and libretto by Nilo Cruz, based on the novel by Ann Patchett.
Christmas at the Royal Opera House is all about magic, mystery and miracles: as represented by the conjuror’s exploits in The Nutcracker — with its Kingdom of Sweets and Sugar Plum Fairy — or, as in the Linbury Theatre this year, the fantastical adventures of the Firework-Maker’s Daughter, Lila, and her companions — a lovesick elephant, swashbuckling pirates, tropical beasts and Fire-Fiends.
The title role is a deciding factor in Madama Butterfly. Despite a
last-minute conductor cancellation, last Saturday’s concert performance
at the Concertgebouw was a resounding success, thanks to Lianna
Haroutounian’s opulent, heart-stealing Cio-Cio-San.
With this performance of vocal and instrumental works composed by the
10-year-old Mozart and his contemporaries during 1766, Classical Opera entered
the second year of their 27-year project, MOZART 250, which is
designed to ‘contextualise the development and influences of [sic] the
composer’s artistic personality’ and, more audaciously, to
‘follow the path that subsequently led to some of the greatest
cornerstones of our civilisation’.
Luca Pisaroni and Wolfram Rieger were due to give the latest installment in the Wigmore Hall's complete Schubert songs series, but both had to cancel at short notice. Fortunately, the Wigmore Hall rises to such contingencies, and gave us Benjamin Appl and Jonathan Ware. Since there's a huge buzz about Appl, this was an opportunity to hear more of what he can do.
The phrase ‘Sunday afternoon concert’ may suggest light, post-prandial entertainment, but soprano Gemma Lois Summerfield and her accompanist, Simon Lepper, swept away any such conceptions in this demanding programme at St. John’s Smith Square.
When, o when, will someone put Peter Sellars and his compendium of clichés
out of our misery?
Having recently followed some by-ways through the music of Purcell, Monteverdi and Cavalli, L’Arpeggiata turned the spotlight on traditional folk music in this characteristically vibrant and high-spirited performance at the Wigmore Hall.
Edward Gardner brought all his experience as a choral and opera conductor to bear in this stirring performance of Michael Tippett’s A Child of Our Time at the Barbican Hall, with a fine cast of soloists, the BBC Symphony Orchestra and BBC Symphony Chorus.
‘Apt for voices or viols’: eager to maximise sales among the domestic market in Elizabethan England, publishers emphasised that the music contained in collections such as Thomas Morley’s First Book of Madrigals to Four Voices of 1594 was suitable for performance by any combination of singers and players.
It was a single title but a double bill and there was far more happening than Gordon Getty and Claude Debussy. Starting with Edgar Allen Poe.
For its latest production of the current season Lyric Opera of Chicago is presenting Franz Lehár’s The Merry Widow (Die lustige Witwe) featuring Renée Fleming /Nicole Cabell as the widow Hanna Glawari and Thomas Hampson as Count Danilo Danilovich.
Mezzo-soprano Cecilia Bartoli has been a regular favourite at the Concertgebouw in Amsterdam since 1996. Her verastile concerts are always carefully constructed and delivered with irrepressible energy and artistic
When Italian director Damiano Michieletto visited Covent Garden in June this year, he spiced Rossini’s Guillaume Tell with a graphic and, many felt, gratuitous rape scene that caused outrage and protest.
Verdi Giovanna d'Arco at Teatro alla Scala, Milan, starting the new season. Primas at La Scala are a state occasion, attended by the President of Italy and other dignitaries.
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