Recently in Performances
On September 18th, at a casual Sunday matinee, Pacific Opera Project presented a surprising choice for a small company. It was Igor Stravinsky’s 1951 three act opera, The Rake’s Progress. It’s a piece made for today's supertitles with its exquisitely worded libretto by W.H. Auden and Chester Kallman.
We are nearing the end of Classical Opera’s MOZART 250 sojourn through 1766, a year that the company’s artistic director Ian Page admits was ‘on face value
a relatively fallow year’. I’m not so sure: Jommelli’s Il Vogoleso, performed at the Cadogan Hall in April, was a gem. But, then, I did find the repertoire that Classical Opera offered at the Wigmore Hall in January, ‘worthy rather than truly engaging’ (review). And, this programme of Haydn and his Czech contemporary Josef Mysliveček was stylishly executed but did not absolutely convince.
Globalization finds its way ever more to San Francisco Opera where Italian composer Marco Tutino’s La Ciociara saw the light of day in 2015 and now, 2016, Chinese composer Bright Sheng’s Dream of the Red Chamber has been created.
Renowned Polish tenor Piotr Beczala and well-known collaborative pianist Martin Katz opened the San Diego Opera 2016–2017 season with a recital at the Balboa Theater on Saturday, September 17th.
San Francisco Opera makes occasional excursions into the operatic big-time, such just now was Giordano’s blockbuster Andrea Chénier, last seen at the War Memorial 23 years ago (1992) and even then after a hiatus of 17 years (1975).
There is no reason why, given the right performers, second-tier Verdi can’t be a top-tier operatic experience, as was the case with this concert version of I Due Foscari.
Since their first appearance in Miguel de Cervantes Saavedra’s literary master-piece, during the Spanish Golden Age, the ingenuous and imaginative knight-errant, Don Quixote, and his loyal subordinate and squire, Sancho Panza, have touched the creative imagination of composers from Salieri to Strauss, Boismortier to Rodrigo.
Bampton Classical Opera’s 2016 double-bill ‘touched down’ at St John’s Smith Square last night, following performances in The Deanery Garden at Bampton and The Orangery of Westonbirt School earlier this summer.
Daniele Gatti opened the first series of Royal Concertgebouw
Orchestra’s season with a slightly uneven performance of Mahler’s
Resurrection Symphony. With four planned, this staple repertoire for
the RCO meant to introduce Gatti to the RCO subscribers.
Opera San Jose opened a commendably impassioned Lucia di Lammermoor that sets the company’s bar very high indeed as it begins its new season.
The approach of the 2016-17 opera season has brought rising anticipation and expectation for the ROH’s new production - the first at Covent Garden for almost 30 years - of Bellini’s bel canto master-piece, Norma.
Last June, Riccardo Chailly led the Leipzig Gewandhaus Orchestra in Bach’s St. Matthew’s Passion for his last concert as Principal Conductor.
After its world premiere at Royal Opera House in London last year, the German première of Georg Friedrich Haas’s Morgen und Abend took
place at the Deutsche Oper Berlin.
Rarely have I experienced such fabulous singing in such a dreadful
production. With magnificent voices, Andreas Schager and Dorothea
Röschmann rescued Michael Thalheimer’s grotesque staging of von
Weber’s Der Freischütz. At Staatsoper Unter den Linden,
Alexander Soddy led a richly detailed, transparent and brilliantly glowing
For the penultimate BBC Prom at the Royal Albert Hall on Friday 9 September 2016, Marin Alsop conducted the BBC Youth Choir and Orchestra of the Age of Enlightenment in Verdi's Requiem with soloists Tamara Wilson, Alisa Kolosova, Dimitri Pittas, and Morris Robinson.
“Eccentricity is not, as dull people would have us believe, a form of madness. It is often a kind of innocent pride, and the man of genius and the aristocrat are frequently regarded as eccentrics because genius and aristocrat are entirely unafraid of and uninfluenced by the opinions and vagaries of the crowd.”
When I look back on the 2016 Proms season, this Opera Rara performance of Semiramide - the last opera that Rossini wrote for Italy - will be, alongside Pekka Kuusisto’s thrillingly free and refreshing rendition of Tchaikovsky’s violin concerto - one of the stand-out moments.
Of all the places in Germany, Oper am Rhein at Theater Duisburg staged an
intriguing American double bill of rarities. An experience that was well worth
the trip to this desolate ghost town, remnant of industrial West Germany.
Bruckner, Bruckner, wherever one goes; From Salzburg to London, he is with us, he is with us indeed, and will be next week too. (I shall even be given the Third Symphony another try, on my birthday: the things I do for Daniel Barenboim
) Still, at least it seems to mean that fewer unnecessary Mahler-as-showpiece performances are being foisted upon us. Moreover, in this case, it was good, indeed great Bruckner, rather than one of the interminable number of ‘versions’ of interminable earlier works.
Thomas Larcher’s Second Symphony (written 2015-16) here received its United Kingdom premiere, its first performance having been given by the Vienna Philharmonic and Semyon Bychkov in June this year. A commission from the Austrian National Bank for its bicentenary, it is nevertheless not a celebratory work, instead commemorating those refugees who have met their deaths in the Mediterranean Sea, ‘expressing grief over those who have died and outrage at the misanthropy at home in Austria and elsewhere’.
07 Sep 2008
Prom 64 — Rattle conducts the Berlin Philharmonic in Messiaen’s Turangâlìla-symphonie
Because Turangâlìla is such a panorama, taking in Hollywood, Hindus and Peruvians, Wagner and Gurrelieder, it’s easy to assume it’s all surface Technicolor.
At its première a critic heard
only “a tune for Dorothy Lamour in a sarong, a dance for Hindu
hillbillies”. At this Prom, Simon Rattle and the Berlin Philharmonic
proved conclusively how inventive it really is.
Rattle paired the Prelude from Tristan und Isolde with
the Liebestod. Often that’s a risk as it can leave you longing
for the singing, but Rattle had thought the two parts through in orchestral
terms. He makes a case for hearing the opera as "music", on its own terms.
Here, the surging waves of sound "are" the message, not background. He shows
how fundamental the flute part is, weaving throughout, commenting without
words. The transition was particularly well blended, one part fading
gradually into the next, like a fade in film gradually coming back into full
color focus. It is cinematic – how Wagner might have loved the movies
Wagner is an appropriate curtain raiser for Messiaen's
Turangâlìla. As a young boy, Messiaen studied Pelléas et
Mélisande, and also inherited the long standing French fascination for
the exotic and "oriental" - think Pierre Loti, Ravel, Maurice Delage and the
Impressionists studying Japanese painting. Wagner was by no means the
dominant influence on Messiaen, but his oceans swells and undercurrents live
on in Turângalìla, as Rattle so clearly demonstrated, stretching the
string lines with soaring, surging magnificence. Messiaen's "trajectory", to
use a favorite Boulez expression, comes not from conventional symphonic
development but from thematic ideas, so this oceanic surge is important.
For the first time, I really understood the sixth section, Le Jardin
du sommeil d'amour. It's slow, almost a relief after the hectic,
inventive fifth section, and has its longueurs. But maybe that's what
Messiaen was getting at. The lovers are together when they're asleep, in
dreams, when the moon pulls the tides that create the waves in the ocean.
It's not as spectacular as the glorious Joie du Sang des étoiles,
but as with so much Messiaen. he's at his most profound when he’s
The Tristan und Isolde concept had even more personal meaning for
Messiaen. He had fallen in love with Yvonne Loriod, but he was married, and,
as devout Catholics, they could not marry until released by his wife’s
death. He "was" Tristan and she Isolde, and Turângalìla is their
mystical union. Hence the significance of the “paganism” in
Turângalìla. Messiaen was fascinated by non-western music, adopting
ideas such as the Indian deçi-tâla rhythms which feature in this piece.
Anyone who’s seen Hindu erotic sculptures can appreciate the concept of
sex as a form of spiritual enhancement, that breaks past the restraint of
western moral convention. So Turângalìla isn’t meant to be
polite “Good Taste”. Those sassy brass passages and almost
Gershwin-like punchiness are essential keys to the spirit of the work. The
famous "statue" theme on brass and clarinet "Flower" themes are "male" and
"female". No wonder Rattle placed such emphasis on how they intertwine,
flirting with each other, so to speak. Pierre-Laurent Aimard's piano and
Tristan Murail's ondes Martenot form a second pair of relationships within
the whole, connecting to percussion and winds, picked up by harp and strings.
Aimard's long solo passages are the unspoken "heart", rather like the flute
in Tristan und Isolde.
The Berlin Philharmonic played with extraordinarily beautiful, transparent
textures – how the brass fanfares shone ! This orchestra can be relied
upon for superlative orchestral color, so what was even more impressive was
how the Berliners took to Messiaen, whose music is so very different to their
mainstream core repertoire. Somehow Rattle inspired them so they played with
free spirited exuberance, capturing the exhilarating intoxication so crucial
to this composer’s idiom. The “bad taste” of
Turângalìla may shock, but it’s the exaltation of spirit that
connects mortals to the divine.
Turângalìla was commissioned by Serge Koussevitsky and premiered
by Leonard Bernstein who hated the piece and refused ever to conduct it
again. Perhaps it’s fortunate as he probably didn’t understand
its internal architecture. Nagano and Salonen have a firm grasp of the
energetic muscularity that animates the piece, but Rattle and the Berlin
Philarmonic exceeded all expectations, marrying technical perfection to
electrifying verve. This performance truly expressed how original and radical
Messiaen really can be.