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Desire and deception; Amor and artifice. In Jan Philipp Gloger’s new production of Così van tutte at the Royal Opera House, the artifice is of the theatrical, rather than the human, kind. And, an opera whose charm surely lies in its characters’ amiable artfulness seems more concerned to underline the depressing reality of our own deluded faith in human fidelity and integrity.
On September 22, 2016, Los Angeles Opera presented Darko Tresnjak’s production of Giuseppe Verdi’s opera Macbeth. Verdi and Francesco Maria Piave based their opera on Shakespeare’s play of the same name.
On September 18th, at a casual Sunday matinee, Pacific Opera Project presented a surprising choice for a small company. It was Igor Stravinsky’s 1951 three act opera, The Rake’s Progress. It’s a piece made for today's supertitles with its exquisitely worded libretto by W.H. Auden and Chester Kallman.
We are nearing the end of Classical Opera’s MOZART 250 sojourn through 1766, a year that the company’s artistic director Ian Page admits was ‘on face value
a relatively fallow year’. I’m not so sure: Jommelli’s Il Vogoleso, performed at the Cadogan Hall in April, was a gem. But, then, I did find the repertoire that Classical Opera offered at the Wigmore Hall in January, ‘worthy rather than truly engaging’ (review). And, this programme of Haydn and his Czech contemporary Josef Mysliveček was stylishly executed but did not absolutely convince.
Globalization finds its way ever more to San Francisco Opera where Italian composer Marco Tutino’s La Ciociara saw the light of day in 2015 and now, 2016, Chinese composer Bright Sheng’s Dream of the Red Chamber has been created.
Renowned Polish tenor Piotr Beczala and well-known collaborative pianist Martin Katz opened the San Diego Opera 2016–2017 season with a recital at the Balboa Theater on Saturday, September 17th.
San Francisco Opera makes occasional excursions into the operatic big-time, such just now was Giordano’s blockbuster Andrea Chénier, last seen at the War Memorial 23 years ago (1992) and even then after a hiatus of 17 years (1975).
There is no reason why, given the right performers, second-tier Verdi can’t be a top-tier operatic experience, as was the case with this concert version of I Due Foscari.
Since their first appearance in Miguel de Cervantes Saavedra’s literary master-piece, during the Spanish Golden Age, the ingenuous and imaginative knight-errant, Don Quixote, and his loyal subordinate and squire, Sancho Panza, have touched the creative imagination of composers from Salieri to Strauss, Boismortier to Rodrigo.
Bampton Classical Opera’s 2016 double-bill ‘touched down’ at St John’s Smith Square last night, following performances in The Deanery Garden at Bampton and The Orangery of Westonbirt School earlier this summer.
Daniele Gatti opened the first series of Royal Concertgebouw
Orchestra’s season with a slightly uneven performance of Mahler’s
Resurrection Symphony. With four planned, this staple repertoire for
the RCO meant to introduce Gatti to the RCO subscribers.
Opera San Jose opened a commendably impassioned Lucia di Lammermoor that sets the company’s bar very high indeed as it begins its new season.
The approach of the 2016-17 opera season has brought rising anticipation and expectation for the ROH’s new production - the first at Covent Garden for almost 30 years - of Bellini’s bel canto master-piece, Norma.
Last June, Riccardo Chailly led the Leipzig Gewandhaus Orchestra in Bach’s St. Matthew’s Passion for his last concert as Principal Conductor.
After its world premiere at Royal Opera House in London last year, the German première of Georg Friedrich Haas’s Morgen und Abend took
place at the Deutsche Oper Berlin.
Rarely have I experienced such fabulous singing in such a dreadful
production. With magnificent voices, Andreas Schager and Dorothea
Röschmann rescued Michael Thalheimer’s grotesque staging of von
Weber’s Der Freischütz. At Staatsoper Unter den Linden,
Alexander Soddy led a richly detailed, transparent and brilliantly glowing
For the penultimate BBC Prom at the Royal Albert Hall on Friday 9 September 2016, Marin Alsop conducted the BBC Youth Choir and Orchestra of the Age of Enlightenment in Verdi's Requiem with soloists Tamara Wilson, Alisa Kolosova, Dimitri Pittas, and Morris Robinson.
“Eccentricity is not, as dull people would have us believe, a form of madness. It is often a kind of innocent pride, and the man of genius and the aristocrat are frequently regarded as eccentrics because genius and aristocrat are entirely unafraid of and uninfluenced by the opinions and vagaries of the crowd.”
When I look back on the 2016 Proms season, this Opera Rara performance of Semiramide - the last opera that Rossini wrote for Italy - will be, alongside Pekka Kuusisto’s thrillingly free and refreshing rendition of Tchaikovsky’s violin concerto - one of the stand-out moments.
Of all the places in Germany, Oper am Rhein at Theater Duisburg staged an
intriguing American double bill of rarities. An experience that was well worth
the trip to this desolate ghost town, remnant of industrial West Germany.
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.
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.