14 Sep 2008
The Second to Last Night of the Proms – Beethoven’s 9th Symphony
The Last Night of the Proms is notorious because it’s an excuse for jingoistic excess.
Written at a time when both his theatrical business and physical health were in a bad way, Handel’s Faramondo was premiered at the King’s Theatre in January 1738, fared badly and sank rapidly into obscurity where it languished until the late-twentieth century.
Fabio Luisi conducted the London Symphony Orchestra in Brahms A German Requiem op 45 and Schubert, Symphony no 8 in B minor D759 ("Unfinished").at the Barbican Hall, London.
The atmosphere was a bit electric on February 25 for the opening night of Leoš Janàček’s 1921 domestic tragedy, and not entirely in a good way.
Each March France's splendid Opéra de Lyon mounts a cycle of operas that speak to a chosen theme. Just now the theme is Mémoires -- mythic productions of famed, now dead, late 20th century stage directors. These directors are Klaus Michael Grüber (1941-2008), Ruth Berghaus (1927-1996), and Heiner Müller (1929-1995).
The latest instalment of Wigmore Hall’s ambitious two-year project, ‘Schubert: The Complete Songs’, was presented by German tenor Christoph Prégardien and pianist Julius Drake.
On March 10, 2017, San Diego Opera presented an unusual version of Georges Bizet’s Carmen called La Tragédie de Carmen (The Tragedy of Carmen).
For his farewell production as director of opera at the Royal Opera House, Kasper Holten has chosen Wagner’s only ‘comedy’, Die Meistersinger von Nürnberg: an opera about the very medium in which it is written.
The dramatic strength that Stage Director Michael Scarola drew from his Pagliacci cast was absolutely amazing. He gave us a sizzling rendition of the libretto, pointing out every bit of foreshadowing built into the plot.
On February 25, 2017, in Tucson and on the following March 3 in Phoenix, Arizona Opera presented its first world premiere, Craig Bohmler and Steven Mark Kohn’s Riders of the Purple Sage.
During the past few seasons, English Touring Opera has confirmed its triple-value: it takes opera to the parts of the UK that other companies frequently fail to reach; its inventive, often theme-based, programming and willingness to take risks shine a light on unfamiliar repertory which invariably offers unanticipated pleasures; the company provides a platform for young British singers who are easing their way into the ‘industry’, assuming a role that latterly ENO might have been expected to fulfil.
A song cycle within a song symphony - Matthias Goerne's intriuging approach to Mahler song, with Marcus Hinterhäuser, at the Wigmore Hall, London. Mahler's entire output can be described as one vast symphony, spanning an arc that stretches from his earliest songs to the sketches for what would have been his tenth symphony. Song was integral to Mahler's compositional process, germinating ideas that could be used even in symphonies which don't employ conventional singing.
On February 21, 2017, San Diego Opera presented Giuseppe Verdi’s last composition, Falstaff, at the Civic Theater. Although this was the second performance in the run and the 21st was a Tuesday, there were no empty seats to be seen. General Director David Bennett assembled a stellar international cast that included baritone Roberto de Candia in the title role and mezzo-soprano Marianne Cornetti singing her first Mistress Quickly.
In Neil Armfield’s new production of Die Zauberflöte at Lyric Opera of Chicago the work is performed as entertainment on a summer’s night staged by neighborhood children in a suburban setting. The action takes place in the backyard of a traditional house, talented performers collaborate with neighborhood denizens, and the concept of an onstage audience watching this play yields a fresh perspective on staging Mozart’s opera.
Patricia Racette’s Salome is an impetuous teenage princess who interrupts the royal routine on a cloudy night by demanding to see her stepfather’s famous prisoner. Racette’s interpretation makes her Salome younger than the characters portrayed by many of her famous colleagues of the past. This princess plays mental games with Jochanaan and with Herod. Later, she plays a physical game with the gruesome, natural-looking head of the prophet.
On February 17, 2017 Pacific Opera Project performed Gaetano Donizetti’s L’elisir d’amore at the Ebell Club in Los Angeles. After that night, it can be said that neither snow, nor rain, nor heat, nor gloom of night can stay this company from putting on a fine show. Earlier in the day the Los Angeles area was deluged with heavy rain that dropped up to an inch of water per hour. That evening, because of a blown transformer, there was no electricity in the Ebell Club area.
There has been much reconstruction of Marseille’s magnificent Opera Municipal since it opened in 1787. Most recently a huge fire in 1919 provoked a major, five-year renovation of the hall and stage that reopened in 1924.
With her irresistible cocktail of spontaneity and virtuosity, Cecilia Bartoli is a beloved favourite of Amsterdam audiences. In triple celebratory mode, the Italian mezzo-soprano chose Rossini’s La Cenerentola, whose bicentenary is this year, to mark twenty years of performing at the Concertgebouw, and her twenty-fifth performance at its Main Hall.
Matthew Rose and Gary Matthewman Winterreise: a Parallel Journey at the Wigmore Hall, a recital with extras. Schubert's winter journey reflects the poetry of Wilhelm Müller, where images act as signposts mapping the protagonist's psychological journey.
Donizetti’s Anna Bolena, composed in 1830, didn’t make it to Lisbon until 1843 when there were 14 performances at its magnificent Teatro São Carlos (opened 1793), and there were 17 more performances spread over the next two decades. The entire twentieth century saw but three (3) performances in this European capital.
It is difficult to know where to begin to praise the stunning achievement of Opera San Jose’s West Coast premiere of Silent Night.
The Last Night of the Proms is notorious because it’s an excuse for jingoistic excess.
Wear a silly hat, wave a flag and maybe the cameras will spot you. Then Mom will see you on TV 10,000 miles away. The Second-to-Last Night though, is the “real” Last Night for music lovers and it’s traditionally observed with Beethoven’s Ninth Symphony.
Justly so, for there is no music more symbolic of the Proms ethos than this wonderful symphony. “Alle Menschen werden Brüder !” All men shall be brothers. No wonder it’s the theme song of the European Community. In these troubled times, Schiller’s message is even more relevant. Since this Prom is broadcast worldwide and available online, it will reach wherever technology permits – a universal experience that crosses boundaries, bringing people together for a moment of communal celebration.
A pity then that the performance was so lacklustre. If ever there was an opportunity to let a performance rip open with exhilaration this would have been it ! The City of Birmingham Symphony Chorus are so well versed they managed to create a frisson, but the BBC Philharmonic Orchestra, under their chief conductor Giannandrea Noseda were rather laboured and sedate. The pressure of being so high profile must be intimidating, but this music is so vivid that it hardly matters whether it’s note perfect, as long as it conveys the sense of joyous, enthusiasm. One of the most interesting performances I’ve heard was by the West-East Divan Orchestra, some of whom are as young as ten years old. Technically they weren’t brilliant, but they understood the radical message of Schiller’s text and why Beethoven set it with such affirmation. The baritone Iain Patterson, was impressive, which is was good for his part dominates the other soloists despite the aesthetic that shapes the ensemble. His voice filled the stadium-like acoustic of the Royal Albert Hall with ease. Still, the Choral Symphony never fails to pack a punch and the atmosphere was so charged with a sense of occasion that when the capacity audience of 7500 people roared approval, it was quite an experience.
Wagner’s Prelude from Parsifal can create an aura, like dawn, before a large programme, but here it was too studied to create any sense of anticipation. This might be fatal in an opera performance, but at this Prom, it was followed by two true relative rarities, Penderecki’s Threnody for the Victims of Hiroshima, segued without a break into Beethoven’s Elegischer Gesang.. Yet again, it was the music that made an impact, rather than the way it was realised. Noseda’s right and left hands rarely diverge, favouring slow, imprecise gestures that emphasise the stretch of lines rather than the structure. This worked rather well with the Penderecki piece with its prolonged low humming and circular “wind” themes, sounds that are eerie because they are mechanical and unrelenting. If the horror in the piece was lost, merging it with Beethoven’s lament “Sanft wie du lebtest hast du vollendet.” gave a rationale to the muted treatment. But surely no-one can possibly suggest that being blown up at Hiroshima was “a gentle ending” ?