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.
16 Sep 2008
Prom 51 — St. John Passion
Sunday 24th August at the Proms promised a day dedicated to the music of Bach, beginning with an organ recital in the afternoon by Simon Preston and ending with a late-night performance of the first three of the six Cello Suites by Chinese cellist Jian Wang by way of a palate-cleanser.
The centrepiece of the homage was a performance of the St John Passion,
the shorter, tauter and more uplifting of Bach’s two extant Passion
Sir John Eliot Gardiner was at the helm of this one, delivering a
performance that was both exactingly schooled and dramatically compelling.
Admittedly his firm-set ideas on historically-informed performance are a
trifle predictable, and can be irritating after a while: the over-stressing
of the first beat in every bar of the opening chorus was somewhat bothersome,
as was the exaggerated running-through of the ends of phrases of the chorales
wherever the text contains no comma.
The soloists were led by the experienced Evangelist of Mark Padmore, who
always manages to convey a stark emotional connection with the music while
still retaining a refined delivery. Other than Padmore, the singers were
variable; Peter Harvey’s Christus was more than adequate, but the most
interesting and dramatically compelling was the bass-baritone Matthew Brook
as Pontius Pilate, whose role in John’s gospel is so much more prominent than
in Matthew’s more detailed account.
Soprano Katharine Fuge sang with limpid tone, but her phrasing was
short-breathed, and her voice is such a small sound that I wonder if she was
audible at all in the further reaches of the Hall. I take issue with whoever
came up with the idea for the ‘sobbing’ ornamentation in the B section of
‘Zerfließe, mein Herze’; it was the one really tasteless moment of the
concert. Alto Robin Blaze was very uneven in his first aria, which is perhaps
a little high-lying for him, but much more satisfying in his second, ‘Es ist
vollbracht’ which comes at the moment of Christ’s death. Nicholas Mulroy and
Jeremy Budd shared the tenor arias, Mulroy acquitting himself with more
The Monteverdi Choir, in which the soloists also participated, performed
with vocal colouring and facial expression appropriate to each of the
dramatic choruses. The choir were radiantly uplifting in the closing chorus
and chorale, affirming Man’s confidence in the presence of a hitherto
non-existent gateway to Paradise.
Ruth Elleson © 2008