Subscribe to
Opera Today

Receive articles and news via RSS feeds or email subscription.


facebook-icon.png


twitter_logo[1].gif



9780393088953.png

9780521746472.png

0810888688.gif

0810882728.gif

Recently in Reviews

Charpentier Histoires sacrées, staged - London Baroque Festival

Marc-Antoine Charpentier Histoires sacrées with Ensemble Correspondances, conducted by Sébastien Daucé, at St John's Smith Square, part of the London Festival of the Baroque 2018. This striking staging, by Vincent Huguet, brought out its austere glory: every bit a treasure of the Grand Siècle, though this grandeur was dedicated not to Sun God but to God.

No Time in Eternity: Iestyn Davies discusses Purcell and Nyman

Revolution, repetition, rhetoric. On my way to meet countertenor Iestyn Davies, I ponder if these are the elements that might form connecting threads between the music of Henry Purcell and Michael Nyman, whose works will be brought together later this month when Davies joins the viol consort Fretwork for a thought-provoking recital at Milton Court Concert Hall.

Aïda in Seattle: don’t mention the war!

When Francesca Zambello presented Aïda at her own Glimmerglass Opera in 2012, her staging was, as they say, “ripped from today’s headlines.” Fighter planes strafed the Egyptian headquarters as the curtain rose, water-boarding was the favored form of interrogation, Radames was executed by lethal injection.

Glyndebourne Festival Opera 2018 opens with Annilese Miskimmon's Madama Butterfly

As the bells rang with romance from the tower of St George’s Chapel, Windsor, the rolling downs of Sussex - which had just acquired a new Duke - echoed with the strains of a rather more bitter-sweet cross-cultural love affair. Glyndebourne Festival Opera’s 2018 season opened with Annilese Miskimmon’s production of Madama Butterfly, first seen during the 2016 Glyndebourne tour and now making its first visit to the main house.

Remembering Debussy

This concert might have been re-titled Remembrance of Musical Times Past: the time, that is, when French song, nurtured in the Proustian Parisian salons, began to gain a foothold in public concert halls. But, the madeleine didn’t quite work its magic on this occasion.

Garsington's Douglas Boyd on Strauss and Skating Rinks

‘On August 3, 1941, the day that Capriccio was finished, 682 Jews were killed in Chernovtsy, Romania; 1,500 in Jelgava, Latvia; and several hundred in Stanisławów, Ukraine. On October 28, 1942, the day of the opera’s premiere in Munich, the first convoy of Jews from Theresienstadt arrived at Auschwitz-Birkenau, and 90 percent of them went to the gas chamber.’

A chiaroscuro Orfeo from Iestyn Davies and La Nuova Musica

‘I sought to restrict the music to its true purpose of serving to give expression to the poetry and to strengthen the dramatic situations, without interrupting the action or hampering it with unnecessary and superfluous ornamentations. […] I believed further that I should devote my greatest effort to seeking to achieve a noble simplicity; and I have avoided parading difficulties at the expense of clarity.’

Lessons in Love and Violence: powerful musical utterances but perplexing dramatic motivations

‘What a thrill -/ My thumb instead of an onion. The top quite gone/ Except for a sort of hinge/ Of skin,/ A flap like a hat,/ Dead white. Then that red plush.’ Those who imagined that Sylvia Plath (‘Cut’, 1962) had achieved unassailable aesthetic peaks in fusing pain - mental and physical - with beauty, might think again after seeing and hearing this, the third, collaboration between composer George Benjamin and dramatist/librettist Martin Crimp: Lessons in Love and Violence.

Grands motets de Lalande

Majesté, a new recording by Le Poème Harmonique, led by Vincent Dumestre, of music by Michel-Richard de Lalande (1657-1726) new from Alpha Classics. Le Poème Harmonique are regular visitors to London, appreciated for the variety of their programes. On Friday this week, (11/5) they'll be at St John's Smith Square as part of the London Festival of Baroque, with a programme titled "At the World's Courts".

Perpetual Night - Early English Baroque, Ensemble Correspondances

New from Harmonia Mundi, Perpetual Night. a superb recording of ayres and songs from the 17th century, by Ensemble Correspondances with Sébastien Daucé and Lucile Richardot. Ensemble Correspondances are among the foremost exponents of the music of Versailles and the French royalty, so it's good to hear them turn to the music of the Stuart court.

Les Salons de Pauline Viardot: Sabine Devieilhe at Wigmore Hall

Always in demand on French and international stages, the French soprano Sabine Devieihle is, fortunately, becoming an increasingly frequent visitor to these shores. Her first appearance at Wigmore Hall was last month’s performance of works by Handel with Emmanuelle Haïm’s Le Concert d’Astrée. This lunchtime recital, reflecting the meetings of music and minds which took place at Parisian salon of the nineteenth-century mezzo-soprano Pauline Viardot (1821-1910), was her solo debut at the venue.

Jesus Christ Superstar at Lyric Opera of Chicago

Lyric Opera of Chicago is now featuring as its spring musical Jesus Christ Superstar with music and lyrics by Andrew Lloyd Webber and Tim Rice. The production originated with the Regent’s Park Theatre, London with additional scenery by Bay Productions, U.K. and Commercial Silk International.

Persephone glows with life in Seattle

As a figure in the history of 20th century art, few deserve to be closer to center stage than Ida Rubenbstein. Without her talent, determination, and vast wealth, Ravel’s Boléro, Debussy’s Martyrdom of St. Sebastien, Honegger’s Joan of Arc at the Stake, and Stravinsky’s Perséphone would not exist.

La concordia de’ pianeti: Imperial flattery set to Baroque splendor in Amsterdam

One trusts the banquet following the world premiere of La concordia de’ pianeti proffered some spicy flavors, because Pietro Pariati’s text is so cloying it causes violent stomach-churning. In contrast, Antonio Caldara’s music sparkles and dances like a blaze of crystal chandeliers.

Kathleen Ferrier Awards Final 2018

The 63rd Competition for the Kathleen Ferrier Awards 2018 was an unusually ‘home-grown’ affair. Last year’s Final had brought together singers from the UK, the Commonwealth, Europe, the US and beyond, but the six young singers assembled at Wigmore Hall on Friday evening all originated from the UK.

Affecting and Effective Traviata in San Jose

Opera San Jose capped its consistently enjoyable, artistically accomplished 2017-2018 season with a dramatically thoughtful, musically sound rendition of Verdi’s immortal La traviata.

Brahms Liederabend

At his best, Matthias Goerne does serious (ernst) at least as well as anyone else. He may not be everyone’s first choice as Papageno, although what he brings to the role is compelling indeed, quite different from the blithe clowning of some, arguably much closer to its fundamental sadness. (Is that not, after all, what clowns are about?) Yet, individual taste aside, whom would one choose before him to sing Brahms, let alone the Four Serious Songs?

Angel Blue in La Traviata

One of the most beloved operas of all time, Verdi’s “ La Traviata” has never lost its enduring appeal as a tragic tale of love and loss, as potent today as it was during its Venice premiere in 1853.

Matthias Goerne and Seong-Jin Cho at Wigmore Hall

Is it possible, I wonder, to have too much of a ‘good thing’? Baritone Matthias Goerne can spin an extended vocal line and float a lyrical pianissimo with an unrivalled beauty that astonishes no matter how many times one hears and admires the evenness of line, the controlled legato, the tenderness of tone.

Maria Callas: Tosca 1964: A film by Holger Preusse

When I reviewed Tosca at Covent Garden in January this year for Opera Today, Maria Callas’s 1964 Royal Opera House performance was still fresh in my mind. This is a recording I have grown up with and which, despite its flaws, is one of the greatest operatic statements - a glorious production which Zeffirelli finally agreed to staging, etched in gothic black and white film (albeit just Act II), with Maria Callas and Tito Gobbi, if not always as vocally commanding as they once were, acting out their roles like no one has before, or since.

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):