Recently in Performances
In its ongoing celebration of Verdi’s centennial year, the Los Angeles Opera offered a new production of Falstaff, the composer’s last and most brilliant opera — brilliant in every scintillating, sparkling sense of the word.
Poor Weber: opera companies, especially in England, do him anything but proud.
Acis and Galatea was one of Handel’s most popular works, frequently revived in his life time and beyond.
German tenor Werner Güra, who has made a speciality of the German lieder repertoire, opened this recital at the Wigmore Hall with Beethoven’s An Die Ferne Geliebte, the composer’s only song cycle and the first significant example of the form.
It’s been renamed “The Gershwins' Porgy and Bess,” it hails itself as “The American Musical” and further qualifies itself as “The Porgy and Bess for the Twenty-First Century.”
Richard Wagner wrote: "The voyage through the Norwegian reefs made a wonderful impression on my imagination; the legend of the Flying Dutchman, which the sailors verified, took on a distinctive, strange coloring that only my sea adventures could have given it.”
‘If she is adulterous, why is she praised? If chaste, why was she put to death?’
On Remembrance Sunday, Semyon Bychkov conducted Benjamin Britten's War Requiem at the Royal Albert Hall with Roderick Williams, Allan Clayton, Sabrina Cvilak, the BBC Symphony Orchestra, the BBC Symphony Chorus, Crouch End Festival Chorus and choristers of Westminster Abbey.
The mantle of tenor Peter Pears’ legacy hung heavily over his immediate ‘successors’, as they performed music that had been composed by Benjamin Britten for the man to whom he avowed, ‘I write every note with your heavenly voice in my head’.
One year since the launch of their project to create a contemporary book of Italians madrigals, vocal ensemble Exaudi returned to the Wigmore Hall to present an intermingling of old and new madrigals which was typically inventive, virtuosic and compelling.
Mozart’s The Magic Flute at the Coliseum could give the ENO a welcome boost.
Lyric Opera of Chicago’s current new production of Giacomo Puccini’s Madama Butterfly, an effort shared with Houston Grand Opera and the Grand Théâtre de Genève, tends to emphasize emotional involvements against a backdrop of spare sets.
Dmitri Shostakovich’s opera, The Nose, based on Gogol’s short story of the same name, was a smash hit for the Metropolitan Opera company in 2010 and once again, this season.
There might not be much ‘Serenissima’ about Yoshi Oida’s 2007 production of Death in Venice — it’s more Japanese minimalism than Venetian splendour — but there is still plenty to admire, as this excellent revival by Opera North as part of its centennial celebration, Festival of Britten, underlines.
With an absorbing production of Peter Grimes and a freshly spontaneous La bohème, Canadian Opera Company has set the bar very high indeed for its current season.
Whatever you think of some of the Metropolitan Opera’s recent productions, you cannot fault the Gelb administration for fearing to take risks.
The lustreless white tiles of the laboratory which forms the set of Keith Warner’s pitiless staging of Alban Berg’s Wozzeck offer little respite — cold, hard, rigid and severe, they are a material embodiment of the bleakness and barrenness of the tragic events which will be played out within the workshop walls (sets by Stefanos Lazaridis).
At this year’s Wexford Festival — the 62nd operatic gathering in this small south-eastern Irish town - the trio of operas on show present many a wretched battle between duty and desire.
At the heart of this Wigmore Hall recital were two sacred vocal works for solo countertenor and small instrumental forces, recently recorded by Florilegium and Robin Blaze to considerable critical acclaim: J.S. Bach’s cantata ‘Vergnügte Ruh, beliebte Seelenlust’ and Giovanni Battista Pergolesi’s ‘Salve Regina’.
After the bitter disappointment of
07 Sep 2008
Prom 68 — Russian Fairy Tales from Rimsky-Korsakov and Stravinsky
Kashchey is a gnarled old ogre who imprisons a beautiful young princess in his gloomy underworld. It’s classic psychodrama. Kashchey has supernatural powers, so how can the Princess be saved ?
This Prom paired Rimsky-Korsakov’s Kashchey The Immortal with Stravinsky’s The Firebird, contrasting two resolutions to the fairy tale that’s captured Russian imaginations for centuries.
Rimsky-Korsakov’s short opera focuses on relationships. Kashchey is
immortal, but he has a daughter, Kashcheyevna, who holds the secret to his
death. She’s just as cold and conniving as he is but she falls in love
with the Prince. The Storm Knight brings all four of them together, and the
Princess’s love triumphs. Kashcheyevna weeps, and her tears break the
spell that makes Kashchey invincible. Love conquers all, yet again.
It’s simple but affords opportunities for lushly Romantic musical
effects. Music as pictorial as this illustrates so well that meaning can be
visualised even if you don’t speak Russian. Kashchey’s music is
shrilly angular, evoking his harsh personality as well as the traditional way
he’s portrayed, as a skeleton, the symbol of death who cannot actually
die. The Storm Knight is defined by wild ostinatos, even though he’s
more of a plot device than a character. Some of the most interesting music,
though, surrounds Kashcheyevna. When she sings, there are echoes of Kundry,
or even Brünnhilde. Harps and woodwinds seem to caress her voice, so when her
iciness melts, we sympathise. While the other roles verge on stereotype,
Kashcheyevna is more complex, and Manistina impressed.
Stravinsky’s The Firebird, written a mere four years after Kashchey
The Immortal, inhabits an altogether different plane. While
Rimsky-Korsakov’s music embellishes the vocal line, Stravinsky’s
floats free. It “is” the drama. The ballet evolves from the music
rather than the other way round. Music for dance has to respect certain
restraints, so it’s necessarily quite episodic, but Stravinsky
integrates the 21 segments so seamlessly that the piece has lived on,
immortal, as an orchestral masterpiece. Vladimir Jurowski is still only in
his mid 30’s but has established a reputation for intelligence and
sensitivity. Watching him conduct this piece was instructive : he moves with
the grace off someone who understands how this music connects to dance. His
gestures were understated, yet elegant, his left hand fluttering to restrain
the sweep of the strings and keep the tone transparent. This pinpointed how
Stravinky wrote cues for physical movement into the music itself. Circular
woodwind figures translate into shapes of curved arms, flurries of pizzicato
into rapid en pointe. Dancers must hear levels in this music closed to the
rest of us, but Jurowski’s intuitive approach helps us appreciate its
The Firebird is a magical figure which materialises out of the air,
leading te Prince to Kashchey’s secret garden. Unlike the ogre, the
Prince is kind and sets the bird free. He’s rewarded with a magic
feather. This time the Princess and other captives are liberated by
altruistic love. It’s purer and more esoteric, and Stravinsky’s
music is altogether more abstract, imaginative and inventive. Jurowski gets
great refinement from the London Philharmonic Orchestra, with whom he’s
forged a very close relationship in only a year of being their Chief
Conductor. The solo part for horn, for example, plays a role in the music
like that of a solo dancer. Textures around it need to be clean as they were
here, so its beauty is revealed with poignant dignity. The rest of the
orchestra plays barely above the point of audibility, until the flute enters
carrying the horn’s melody. Later there’s more magic, when the
double basses and cellos are plucked quietly, building up towards the
crescendos which sound for all the world like the joyous tolling of great
bells. In the finale, trombones and trumpets hail the moment of liberation.
The trumpeters stand upright, so their music soars above the orchestra,
projected into the auditorium with superb, dramatic effect.
Kashchey the Immortal by Viktor Vasnetsov