Subscribe to
Opera Today

Receive articles and news via RSS feeds or email subscription.


facebook-icon.png


twitter_logo[1].gif



Plumbago_9780993198359_1.png

9780521746472.png

0810888688.gif

0810882728.gif

Recently in Reviews

The 2019 Jette Parker Young Artists Summer Performance

This year’s Jette Parker Young Artists Summer Performance offered a veritable operatic smörgåsbord, presenting sizable excerpts from operas ranging from Gluck to Saint-Saëns, from Mozart to Debussy, by way of some Italian masterpieces, courtesy of Rossini and Verdi.

Cilea's L'arlesiana at Opera Holland Park

In a rank order of suicidal depressives, Federico - the Provençal peasant besotted with ‘the woman from Arles’, L’arlesiana, who yearns to break free from his mother’s claustrophobic grasp, who seeks solace from betrayal and disillusionment in the arms of a patient childhood sweetheart, but who is ultimately broken by deluded dreams and unrequited passion - would surely give many a Thomas Hardy protagonist a run for their money.

Prom 1: Karina Canellakis makes history on the opening night of the Proms 2019

The young American conductor Karina Canellakis made history as the first woman to conduct the First Night of the Proms last night (19 July 2019) as she conducted the BBC Singers, BBC Symphony Chorus and BBC Symphony Orchestra at the Royal Albert Hall with soloists Asmik Grigorian (soprano), Jennifer Johnston (mezzo-soprano), Ladislav Elgr (tenor), Jan Martiník (bass) and Peter Holder (organ) in Zosha Di Castri's Long is the Journey, Short Is the Memory (the world premiere of a BBC commission), Antonin Dvořák’s The Golden Spinning Wheel and Leoš Janáček’s Glagolitic Mass.

Barbe & Doucet's new production of Die Zauberflöte at Glyndebourne

No one would pretend that Emanuel Schikaneder’s libretto for Mozart’s Die Zauberflöte would go down well with the #MeToo generation. Or with first, second or third wave feminists for that matter.

Pavarotti: A Film by Ron Howard

Ron Howard’s latest music documentary after The Beatles: Eight Days a Week and Made in America is a poignant tribute that allows viewers into key moments of Pavarotti’s career – but lacks a deeper, more well-rounded view of the artist.

Three Chamber Operas at the Aix Festival

Along with the celestial Mozart Requiem, a doomed Tosca and a gloriously witty Mahagonny the Aix Festival’s new artistic director Pierre Audi regaled us with three chamber operas — the premiere of a brilliant Les Mille Endormis, the technically playful Blank Out (on a turgid subject), and a heavy-duty Jakob Lenz.

Herbert Howells: Choir of King’s College, Cambridge

The Choir of King’s College, Cambridge has played a role in the evolution of British music. This recording honours this heritage and Stephen Cleobury’s contribution in particular by focusing on Herbert Howells, who transformed the British liturgical repertoire in the 20th century.

Laurent Pelly's production of La Fille du régiment returns to Covent Garden

French soprano Sabine Devieilhe seems to find feisty adolescence a neat fit. I first encountered her when she assumed the role of a pill-popping nightclubbing ‘Beauty’ - raced from ecstasy-induced wonder to emergency ward - when I reviewed the DVD of Krzysztof Warlikowski’s production of Handel’s Il trionfo del Tempo e del Disinganno at Aix-en-Provence in 2016.

The Rise and Fall of the City of Mahagonny in Aix

Make no mistake, this is about you! Jim laid-out dead on the stage floor, conductor Esa-Pekka Salonen brought his very loud orchestra (London’s Philharmonia) to an abrupt halt. Black out. The maestro then turned his spotlighted face to confront us and he held his stare. There was no mistake, the music was about us.

Mozart's Travels: Classical Opera and The Mozartists at Wigmore Hall

There was a full house at Wigmore Hall for Classical Opera’s/The Mozartists’ final concert of the 2018-19 season: a musical paysage which chartered, largely chronologically, Mozart’s youthful travels from London to The Hague, on to Paris, then Rome, concluding - following stop-overs in European cultural cities such as Munich and Vienna - with an arrival at his final destination, Prague.

Tosca in Aix

From the sublime — the Mozart Requiem — to the ridiculous, namely stage director Christophe Honoré's Tosca. A ridiculous waste of operatic resources.

A terrific, and terrifying, The Turn of the Screw at Garsington

One might describe Christopher Oram’s set for Louisa Muller’s new production of The Turn of the Screw at Garsington as ‘shabby chic’ … if it wasn’t so sinister.

Mozart Requiem in Aix

Pierre Audi, now the directeur général of the Festival d’Aix as well as the artistic director of New York City’s Park Avenue Armory opens a new era for this distinguished opera festival in the south of France with a new work by the Festival’s signature composer, Wolfgang Amadeus Mozart.

A Rachmaninov Drama at Middle Temple Hall

It is Rachmaninov’s major works for orchestra - the Second and Third Piano Concertos, the Rhapsody on a Theme of Paganini, the Symphonic Dances - alongside the All-Night Vespers and the music for solo piano, which have earned the composer a permanent place in the concert repertoire today.

Fun, Frothy, and Frivolous: L’elisir d’amore at Las Vegas

There are a dizzying array of choices for music entertainment in Las Vegas ranging from Celine Dion and Cher to Paul McCartney and Aerosmith. Admittedly, these performers are a far cry from opera, but the point is that Las Vegas residents have many options when it comes to live music.

McVicar's production of Mozart's Le nozze di Figaro returns to the Royal Opera House

David McVicar's production of Mozart's Le nozze di Figaro at the Royal Opera House, Covent Garden, has been a remarkable success since it debuted in 2006. Set with the Count of Almaviva's fearfully grand household in 1830, McVicar's trick is to surround the principals by servants in a supra-naturalistic production which emphasises how privacy is at a premium.

The Cunning Little Vixen at the Barbican Hall

The presence of a large cast of ‘animals’ in Janáček’s The Cunning Little Vixen can encourage directors and designers to create costume-confections ranging from Disney-esque schmaltz to grim naturalism.

Barbe-Bleue in Lyon

Stage director Laurent Pelly is famed for his Offenbach stagings, above all others his masterful rendering of Les Contes d’Hoffmann as a nightmare. Mr. Pelly has staged eleven of Offenbach’s ninety-nine operettas over the years (coincidently this production of Barbe-Bleue is Mr. Pelly’s ninety-eighth opera staging).

Mieczysław Weinberg: Symphony no. 21 (“Kaddish”)

Mieczysław Weinberg witnessed the Holocaust firsthand. He survived, though millions didn’t, including his family. His Symphony no. 21 “Kaddish” (Op. 152) is a deeply personal statement. Yet its musical qualities are such that they make it a milestone in modern repertoire.

The Princeton Festival Presents Nixon in China

The Princeton Festival has adopted a successful and sophisticated operatic programming strategy, whereby the annual opera alternates between a standard warhorse and a less known, more challenging work. Last year Princeton presented Puccini’s Madama Butterfly. This year the choice is Nixon in China by modern American composer John Adams, which opened before a nearly full house of appreciative listeners.

OPERA TODAY ARCHIVES »

Reviews

London Philharmonic Orchestra — 75th Anniversary, Volume 3: 1983-2007
05 Dec 2008

London Philharmonic Orchestra — 75th Anniversary, Vol. 3: 1983-2007.

Released to commemorate the seventy-fifth anniversary of the London Philharmonic Orchestra, the three multi-disc sets of recordings makes available recordings that document the triumphs of the ensemble since its founding in 1932 by Sir Thomas Beecham.

London Philharmonic Orchestra — 75th Anniversary, Volume 3: 1983-2007

Klaus Tennstedt conducts Beethoven; Franz Welser-Möst conducts Strauss, Mozart, Schubert, and Bruckner; Kurt Masur conducts Shostakovich; Vladimir Jurowski conducts Shostakovich.

LPO 0099 [4CDs]

$44.99  Click to buy

The third and final volume brings the documentation to the present, and celebrates some fine contemporary conductors of the London Philharmonic, with a disc devoted to each of its four recent conductors. Taken from a number of live performances, the recordings represent well the quality of the performances in the vividness of the concert hall. Reaching back a quarter century to 1983, the choice of Beethoven’s Ninth Symphony under the direction of the late Klaus Tennstedt not only pays tribute to that conductor’s exemplary leadership and also demonstrates the caliber of soloists involved, with the late Lucia Popp, soprano, Ann Murray, mezzo soprano, Anthony Rolfe Johnson, tenor, and René Pape, bass. The performance of the “Choral” Symphony stems from a concert on 8 October 1983 at Royal Festival Hall. While it is difficult to recommend a limited number of recordings of this iconic work of nineteenth-century symphonic literature, this particular release conveys a dynamic tension that is not always possible in various fine studio recordings. This performance captures Lucia Popp at an excellent time in her career and, at the same time, includes the young René Pape, a bass who has since achieved an international reputation. The addition of Ann Murray and Anthony Rolfe Johnson make this a festival-level cast for this intensive reading of Beethoven’s Ninth Symphony.

Dating from the later 1980s through the 1990s, the tenure of Franz Welser-Most includes music from several concerts and is denoted by several representative works for voices and orchestra. The disc includes five selections: Mozart’s Mass in C minor, K. 427, recorded at Walthamstow Assembly Hall in February 1987; Mozart’s Requiem, recorded at St. Augustine’s Church, London, in 1989; the final scene from Richard Strauss’s opera Capriccio, with soprano Dame Felicity Lott and bass Michael Georg from a concert on 25 February 1992; Schubert’s Stabat Mater, D. 175, from a concert at Royal Festival Hall, on 26 October 1992; and Bruckner’s Te Deum, recorded in October 1995 at All Saints’ Church, London. While most of the works are well-known, Schubert’s Stabat Mater is, perhaps, less familiar than the others and nonetheless of interest because of Welser-Most’s exemplary attention to the choral textures of this work. As one of the finest contemporary interpreters of Bruckner, the recording of the Te Deum brings together a remarkable cast, which includes soprano Jane Eaglen; contralto Brigit Remmert; the late tenor Deon van der Walt, and bass Alfred Muff. It is an exciting performance that stands well with other releases of the work. The relatively large amount of choral music on this disc does not need an explanation, but the inclusion of the scene from Strauss’s Capriccio remains a kind of commentary. With the nature of musical composition at the core of the libretto for Strauss’s opera, the final scene in this famed “conversation” about music contains the unresolved argument as to whether the text of the music should be foremost. It remains for the listener to decide, but the works chosen make a strong case for the place of choral music in the tradition of the London Philharmonic.

Moving to the early twentieth century, Kurt Masur, familiar to American audiences for his fine work with the New York Philharmonic is represented here with two critical works by Dmitri Shostakovich, the composer’s First and Fifth Symphonies. The recordings of those two symphonies are taken from performances given in the relatively short time between 31 January and 3 February 2004. Masur’s lively interpretation of Shostakovich’s First Symphony bears hearing for its fine sonics that make bring a nice clarity to the solo lines and thinner textures that are characteristic of the work. With the Fifth, Masur strikes a fine balance between the range of moods and textures that are part of the score. The slow movement, the penultimate band on the recording, is seamless, with a welcome spaciousness to its elegiac quality. The ensemble required for a successful execution is present in this masterful performance, which demonstrates the quality of playing that has been part of the London Philharmonic since its founding. The culmination of the movement, with the percussive line with xylophone and piano leads to a moving conclusion under Masur’s direction.

The final disc of the set is an opportunity to hear the young conductor Vladimir Jurowski, whose recorded legacy is not yet as extensive as those of his predecessors. Jurowski brings his own intensive musicality to the London Philharmonic in a performance of Shostakovich’s Symphony no. 14, a work that brings together settings of poetry by Lorca, Apollinaire, Küchelbecker, and Rilke, in a symphonic song cycle that stands well alongside other such twentieth-century works as Mahler’s Das Lied von der Erde and Britten’s Les Illuminations. With soloists Tatiana Monogarova and Sergei Leiferkus, this recording from February 2006 is an excellent introduction to Jurowski’s work.

As part of the anniversary celebration of the London Philharmonic, this last installment stands well with the other two. The sound is consistently fine, and audience noise, minimal. Not only do these recordings serve well in documenting the recent years of the London Philharmonic, but they represent well the conductors involved, each a major figure at the end of the twentieth century and the beginning of the twenty-first.

James Zychowicz

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):