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The Wigmore Hall complete Schubert song series continued with a recital by Georg Nigl and Andreas Staier. Staier's a pioneer, promoting the use of fortepiano in Schubert song. In Schubert's time, modern concert pianos didn't exist. Schubert and his contemporaries would have been familiar with a lighter, brighter sound. Over the last 30 years, we've come to better understand Schubert and his world through the insights Staier has given us. His many performances, frequently with Christoph Prégardien at the Wigmore Hall, have always been highlights.
On 9 January 2017 the London Festival of Baroque Music (formerly the Lufthansa Festival of Baroque Music) announced its programme for 2017. The Festival theme for 2017 is Baroque at the Edge. Inspired by the anniversaries of Monteverdi (450th of birth) and Telemann (250th of death) the Festival explores the ways that composers and performers have pushed at the chronological, stylistic, geographical and expressive boundaries of the Baroque era.
On Thursday 19th January, opera lovers around the world started bidding online for rare and prized items made available for the first time from Opera Rara’s collection. In addition to the 26 lots auctioned online, 6 more items will be made available on 7 February - when online bidding closes - at Opera Rara’s gala dinner marking the final night of the auction. The gala will be held at London’s Caledonian Club and will feature guest appearances from Michael Spyres and Joyce El-Khoury.
Classical Opera’s MOZART 250 project has reached the year 1767. Two years ago, the company embarked upon an epic, 27-year exploration of the music written by Mozart and his contemporaries exactly 250 years previously. The series will incorporate 250th anniversary performances of all Mozart’s important compositions and artistic director Ian Page tells us that as 1767 ‘was the year in which Mozart started to write more substantial works - opera, oratorio, concertos
this will be the first year of MOZART 250 in which Mozart’s own music dominates the programme’.
‘[T]hey moderated or increased their voices, loud or soft, heavy or light according to the demands of the piece they were singing; now slowing, breaking of sometimes with a gentle sigh, now singing long passages legato or detached, now groups, now leaps, now with long trills, now with short, or again, with sweet running passages sung softly, to which one sometimes heard an echo answer unexpectedly. They accompanied the music and the sentiment with appropriate facial expressions, glances and gestures, with no awkward movements of the mouth or hands or body which might not express the feelings of the song. They made the words clear in such a way that one could hear even the last syllable of every word, which was never interrupted or suppressed by passages or other embellishments.’
An exceptional Wagner Der fliegende Holländer, so challenging that, at first, it seems shocking. But Kasper Holten's new production, currently at the Finnish National Opera, is also exceptionally intelligent.
A welcome addition to Lyric Opera of Chicago’s roster was its recent production of Jules Massenet’s Don Quichotte.
800 years ago, every book was a precious treasure - ‘written on skin’. In George Benjamin’s and Martin Crimp’s 2012 opera, Written on Skin, modern-day archivists search for one such artefact: a legendary 12th-century illustrated vanity project, commissioned by an unnamed Protector to record and celebrate his power.
It was like a “Date Night” at Staatsoper unter den Linden with
its return of Eike Gramss’ 2012 production of Puccini’s Madama
Butterfly. While I entered the Schiller Theater, the many young couples
venturing to the opera together, and emerging afterwards all lovey-dovey and
moved by Puccini’s melodramatic romance, encouraged me to think more
positively about the future of opera.
For the Late Night concert after the Saturday series, fifteen Berliners
backed up Barbara Hannigan in yet another adventurous collaboration on a modern
rarity with Simon Rattle. I was completely unfamiliar with the French composer,
but the performance tonight made me fall in love with Gérard
Grisey’s sensually disintegrating soundscape Quatre chants pour
franchir le seuil, or “Fours Songs to cross the
One of the things I love about the Philharmonie in Berlin, is the normalcy
of musical excellence week after week. Very few venues can pull off with such
illuminating star wattage. Michael Schade, Anne Schwanewilms, and Barbara
Hannigan performed in two concerts with two larger-than-life conductors
Thielemann and Rattle. We were taken on three thrilling adventures.
Lyric Opera of Chicago’s original and superbly cast production of Hector Berlioz’s Les Troyens has provided the musical public with a treasured opportunity to appreciate one of the great operatic achievements of the nineteenth century.
The Little Opera Company opened its 21st season by championing its own, as it presented the world premiere of Winnipeg composer Neil Weisensel’s Merry Christmas, Stephen Leacock.
In 2015, Bampton Classical Opera’s production of Salieri’s La grotta di Trofonio - a UK premiere - received well-deserved accolades: ‘a revelation ... the music is magnificent’ (Seen and Heard International), ‘giddily exciting, propelled by wit, charm and bags of joy’ (The Spectator), ‘lively, inventive ... a joy from start to finish’ (The Oxford Times), ‘They have done Salieri proud’ (The Arts Desk) and ‘an enthusiastic performance of riotously spirited music’ (Opera Britannia) were just some of the superlative compliments festooned by the critical press.
How many singers does it take to make an opera? There are single-role operas - Schönberg’s Erwartung (1924) and Eight Songs for a Mad King by Peter Maxwell Davies (1969) spring immediately to mind - and there are operas that just require a pair of performers, such as Rimsky-Korsakov’s Mozart i Salieri (1897) or The Telephone by Menotti (1947).
Now in its 31st year, the 2016 Christmas Festival at St John’s Smith Square has offered sixteen concerts performed by diverse ensembles, among them: the choirs of King’s College, London and Merton College, Oxford; Christchurch Cathedral Choir, Oxford; The Gesualdo Six; The Cardinall’s Musick; The Tallis Scholars; the choirs of Trinity College and Clare College, Cambridge; Tenebrae; Polyphony and the Orchestra of the Age of the Enlightment.
As 2016 draws to a close, we stand on the cusp of a post-Europe, pre-Trump world. Perhaps we will look back on current times with the nostalgic romanticism of Richard Strauss’s 1911 paean to past glories, comforts and certainties: Der Rosenkavalier.
Ah, Loft Opera. It’s part of the experience to wander down many dark
streets, confused and lost, in a part of Brooklyn you’ve never been. It
is that exclusive—you can’t even find the
Let’s start by getting a couple of gripes out of the way. First, the
final act of Die Walküre does not constitute a full-length
concert, even with a distinguished cast and orchestra, and with animated
drawings fluttering on a giant screen.
When you combine two charismatic New York stage divas with the artistry of Los Angeles Opera, you have a mix that explodes into singing, dancing and an evening of superb entertainment.
24 Oct 2008
Falstaff at Pimlico Opera, Cadogan Hall
Pimlico Opera is based at the Grange in Hampshire, home of the Grange Park opera festival, but pre-dates its sister company by a decade and has been giving national tours of popular operas since the 1980s as well as doing some pioneering opera and music theatre projects in UK prisons.
There are many concessions which have to be made when touring on a budget, and nothing about this Falstaff was as big as it normally is. The score, which had several cuts, was performed in an (uncredited) arrangement for an orchestra of fewer than 30, and no chorus (the principals making up the vocal ensemble wherever appropriate). At London’s Cadogan Hall there is nowhere to put a backdrop, and all that survived of the adaptable touring set was a versatile set of blocks which transformed into the various different settings with the addition or subtraction of panels or furniture. The scene changes — given that Cadogan Hall has no curtain — were entertaining to watch, almost little scenes in their own right.
Daniel Slater’s production (revived by Hazel Gould) was performed in modern dress, and Act 1 Scene 2 used one of the favourite generic settings for contemporary productions, the luxury health club complete with sun-loungers. It was colourful but not very original, and the possibilities of the setting were ignored — why couldn’t Act 2 Scene 2 be set there too, with Falstaff being dumped in the swimming pool at the end? But no, for that scene we were in the traditional setting chez Alice, with the Thames running past the back door as per the original stage directions. At least there was one bit of business which utilised the unusual layout, with the orchestra to the right of the stage area; Falstaff hid from Ford by crouching next to the band and attempting to blend into the violin section.
Falstaff himself was also on a smallish scale, with minimal padding, but while the young Swiss baritone David-Alexandre Borloz lacked physical bulk, there was nothing insubstantial about his vocal resources, which were if anything a size too big for the intimate venue. James Cleverton’s Ford was also impressive. Rebecca Cooper’s neat, classy Alice was vocally secure, but dramatically she was upstaged by Emma Carrington’s sardonic Quickly and Margaret Rapacioli’s Meg with her wonderfully expressive eyes.
As Fenton, Patrick Ashcroft’s tenor was rather monochrome and lacked bloom in his lovely Act 3 aria, but he had a natural and charming stage manner, while Verity Parker’s Nannetta was a vocally appealing and believably youthful girl-next-door (though I couldn’t work out why was she made to wear a black cloak over her white fairy costume — she would have looked far more effective without).
David-Alexandre Borloz (Falstaff) and James Cleverton (Ford) in The Garter Inn. Pimlico Opera 2008.
Alice Farnham conducted with vigour, but the limitations of the reduced score were evident throughout — the lack of richness in the opera’s musical texture was a significant loss to the piece. It was just as well that Verdi’s final opera (not, as the programme stated, his only comedy) is virtually indestructible, and that the cast was a more than solid ensemble. The joy of the final fugue could not have come across more effectively on the stage of a major international house.
Regrettably, the audience, too, was pared down — the small hall was far less than half full.
Ruth Elleson © 2008
(L-R) Verity Parker (Nanetta), James Cleverton (Ford), Rebecca Cooper (Alice), Patrick Ashcroft (Fenton) and Margaret Rapacioli (Meg) Act 3, Scene 1. Pimlico Opera 2008
Click here for an excerpt via YouTube.
[Editor’s Note: It is with deep regret to note that David-Alexandre Borloz (age 32) died in his sleep on 19 October 2008]