Subscribe to
Opera Today

Receive articles and news via RSS feeds or email subscription.


twitter_logo[1].gif



9780521746472.png

0810888688.gif

0810882728.gif

Recently in Reviews

Dolora Zajick Premieres Composition

At a concert in the Cathedral of Saint Joseph in San Jose, California, on August 22, 2014, a few selections preceded the piece the audience had been waiting for: the world premiere of Dolora Zajick’s brand new composition, an opera scene entitled Roads to Zion.

Gluck: Orfeo ed Euridice

This elegant, smartly-paced film turns Gluck’s Orfeo into a Dostoevskian study of a guilt-wracked misanthrope, portrayed by American countertenor Bejun Mehta.

Aureliano in Palmira in Pesaro

Ossia Il barbiere di Siviglia. Why waste a good tune.

Britten War Requiem - Andris Nelsons, CBSO, BBC Prom 47

In light of the 2012 half-centenary of the premiere in the newly re-built Coventry Cathedral of Benjamin Britten’s War Requiem, the 2013 centennial celebrations of the composer’s own birth, and this year’s commemorations of the commencement of WW1, it is perhaps not surprising that the War Requiem - a work which was long in gestation and which might be seen as a summation of the composer’s musical, political and personal concerns - has been fairly frequently programmed of late. And, given the large, multifarious forces required, the potent juxtaposition of searing English poetry and liturgical Latin, and the profound resonances of the circumstances of the work’s commission and premiere, it would be hard to find a performance, as William Mann declared following the premiere, which was not a ‘momentous occasion’.

Il barbiere di Siviglia in Pesaro

Both by default and by merit Il barbiere di Siviglia is the hit of the thirty-fifth Rossini Opera Festival. But did anyone really want, and did the world really need yet another production of this old warhorse?

Armida in Pesaro

Armida (1817) is the third of Rossini’s nine operas for the Teatro San Carlo in Naples, all serious. The first was Elisabetta, regina di Inghilterra (1815), the second was Otello (1816), the last was Zelmira (1822).

Santa Fe Opera Presents an Imaginative Carmen

Santa Fe opera has presented Carmen in various productions since 1961. This year’s version by Stephen Lawless takes place during the recent past in Northern Mexico near the United States border. The performance on August 6, 2014, featured Ana Maria Martinez as a monumentally sexy Gypsy who was part of a drug smuggling group.

Elgar Sea Pictures : Alice Coote, Mark Elder Prom 31

Sir Mark Elder and the Hallé Orchestra persuasively balanced passion and poetry in this absorbing Promenade concert. Elder’s tempi were fairly relaxed but the result was spaciousness rather than ponderousness, with phrases given breadth and substance, and rich orchestral colours permitted to make startling dramatic impact.

Berio Sinfonia, Shostakovich, BBC Proms

Although far from perfect, the performance of Berio’s Sinfonia in the first half of this concert was certainly its high-point; indeed, I rather wish that I had left at the interval, given the tedium induced by Shostakovich’s interminable Fourth Symphony. Still, such was the programme Semyon Bychkov had been intended to conduct. Alas, illness had forced him to withdraw, to be replaced at short notice by Vasily Petrenko.

Four countertenors : Handel Rinaldo Glyndebourne

Handel's Rinaldo was first performed in 1711 at London's King's Theatre. Handel's first opera for London was designed to delight and entertain, combining good tunes, great singing with a rollicking good story. Robert Carsen's 2011 production of the opera for Glyndebourne reflected this with its tongue-in-cheek Harry Potter meets St Trinian's staging.

Santa Fe Opera Presents The Impresario and Le Rossignol

On August 7, 2014, the Santa Fe Opera presented a double bill of Wolfgang Amadeus Mozart’s The Impresario and Igor Stravinsky’s Le Rossignol (The Nightingale). The Impresario deals with the casting of an opera and Le Rossignol tells the well-known fairy tale about the plain gray bird with an exquisite song.

Barber in the Beehive State

Utah Festival Opera and Musical Theatre has gifted opera enthusiasts with a thrilling Barber, and I don’t mean . . . of Seville.

Stravinsky : Oedipus Rex, BBC Proms

In typical Proms fashion, BBC Prom 28 saw Stravinsky's Oedipus Rex performed in an eclectic programme which started with Beethoven's Egmont Overture and also featured Electric Preludes by the contemporary Australian composer Brett Dean. Sakari Oramo,was making the first of his Proms appearances this year, conducting the BBC Symphony Orchestra, BBC Singers and BBC Symphony Chorus.

Santa Fe Opera Presents a Passionate Fidelio

Santa Fe Opera presented Beethoven’s Fidelio for the first time in 2014. Since the sides of the opera house are open, the audience watched the sun redden the low hanging clouds and set below the Sangre de Cristo mountains while Chief Conductor Harry Bicket led the Santa Fe Opera Orchestra in the rousing overture. At the same time, Alex Penda as the title character readied herself for the ordeal to come as she endeavored to rescue her unjustly imprisoned husband.

Die Entführung aus dem Serail @ Hangar-7

We see the characters first in two boxes at an opera house. The five singers share a box and stare at the stage. But Konstanze’s eye is caught by a man in a box opposite: Bassa Selim (actor Tobias Moretti), who stares steadily at her and broods in voiceover at having lost her, his inspiration.

Rameau Grand Motets, BBC Proms

Best of the season so far! William Christie and Les Arts Florissants performed Rameau Grand Motets at late night Prom 17.

Adriana Lecouvreur, Opera Holland Park

Twelve years after Opera Holland Park's first production of Francesco Cilea’s Adriana Lecouvreur, the opera made a welcome return.

Back to the Beginnings: Monteverdi’s Il ritorno d’Ulisse in patria at Iford Opera.

The Italianate cloister setting at Iford chimes neatly with Monteverdi’s penultimate opera The Return of Ulysses, as the setting cannot but bring to mind those early days of the musical genre.

Schoenberg : Moses und Aron, Welsh National Opera, London

Once again, we find ourselves thanking an unrepresentable being for Welsh National Opera’s commitment to its mission.

Count Ory, Dead Man Walking
and La traviata in Des Moines

If you don’t have the means to get to the Rossini festival in Pesaro, you would do just as well to come to Indianola, Iowa, where Des Moines Metro Opera festival has devised a heady production of Le Comte Ory that is as long on belly laughs as it is on musical fireworks.

OPERA TODAY ARCHIVES »

Reviews

Wagner: Arias
02 Nov 2008

Wagner Duets: Nilsson and Hotter, Polaski and Botha

A few years ago EMI released a recording of Wagner duets with Placido Domingo and Deborah Voigt.

Wagner: Opera Arias and Duets

Birgit Nilsson, Hans Hotter, Leopold Ludwig, Philharmonia Orchestra

EMI Classics 5099950970322 [CD]

$12.99  Click to buy

Perhaps it won’t be too long before EMI decides that release belongs in their “Great Recordings of the Century” series, but for now, their Wagner duet collection under that sobriquet comes from 1957, with the legendary Hans Hotter and Birgit Nilsson. Another disc of Wagner duets out recently, from the small Oehms label, features Deborah Polaski and Johan Botha in the major scenes for Tristan und Isolde. Both discs feature an established veteran caught somewhat late, and a rising star in the repertoire - but with the genders reversed.

Hans Hotter had been singing Wotan and the Dutchman for a couple decades when Walter Legge decided to pair him with the up-and-coming Birgit Nilsson (although she was near 40 at the time of the sessions). Nillson also sings Senta’s solo number, as well as those of the Tannäuser Elisabeth, the Lohengrin Elsa, and Isolde’s “Liebestod” (on a bonus second disc). The brief booklet note by Mike Ashman depicts the EMI release as a by-product of Legge’s frustrated desire to record a complete Ring cycle. The last 40 minutes of Die Walküre’s act three present a Wotan of depleted but still potent authority, with Hotter’s bass at times shaky and short-breathed, yet still commanding respect. Nilsson is in fine voice, but the characterization of Brünnhilde would grow as her career continued. It’s intriguing to hear the great soprano hold back her power to get into the characters of Elisabeth and Elsa. However, at times, her intonation suffers a bit. The voice in full cry has more impact, and both her Senta solo scene and the duet with Hotter’s Dutchman show her off well.

The conducting of Leopold Ludwig is more serviceable than distinguished, while the Philharmonia Orchestra sounds very good. The sound has some tape hiss, easily adjusted to.

T_I_Duets.pngOehms offers a “super-audio” CD of Tristan und Isolde highlights, with very clean, crisp sound. Bertrand de Billy may not have built his reputation on Wagner, but he leads a warm, intimately scaled reading with the RSO Wien. The strongest attraction of this disc is the beautiful yet masculine performance of Johan Botha as Tristan. Here is a lover and a warrior, soaring high with total security. Botha has yet to sing the role on stage, and if he can be directed to be a livelier stage presence than he has shown himself to be in the past, he should present a formidable Tristan. Deborah Polaski, on the other hand, has sung Isolde for over two decades. On the plus side, she has developed a full-scale interpretation of a woman of barely controllable temperament, almost as fearsome in her passion as in her act one rage. On the not so plus side - the voice simply does not record well. She sounds quite a bit older than her Tristan, and the top tends to spread.

To stick to its chosen framework of “The Duet Scenes,” Oehms allows for some abrupt edits, especially at the end of the love duet. There’s no time for King Marke, either, or anything from act three. So those frustrated by the selections might want to look for another Oehms disc of Isolde’s other music, which presumably contains Polaski’s version of the Liebestod. Perhaps better yet, switch over to the Nilsson/Hotter disc for Birgit’s exalted “Mild und leise.”

Chris Mullins

Send to a friend

Send a link to this article to a friend with an optional message.

Friend's Email Address: (required)

Your Email Address: (required)

Message (optional):