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“Man is an abyss. It makes one dizzy to look into it.” So utters Georg Büchner’s Woyzeck, repeating what was also a recurring motif in the playwright’s own letters.
National Opera Company of the Rhine has marked this year’s Benjamin Britten celebration with a remarkably compelling, often gripping new production of the seldom-seen Owen Wingrave.
Once upon a time, Frankfurt Opera had the baddest ass reputation in Germany as “the” cutting edge producer of must-see opera.
Productions of Giuseppe Verdi’s Rigoletto can serve as a vehicle for individual singers to make a strong impression and become afterward associated with specific roles in the opera.
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Poor Aida! She never seems to have anything go her way.
Is it possible to upstage Jonas Kaufmann? Kaufmann was brilliant in this Verdi Don Carlo at the Royal Opera House, London, but the rest of the cast was so good that he was but first among equals. Don Carlo is a vehicle for stars, but this time the stars were everyone on stage and in the pit. Even the solo arias, glorious as they are, grow organically out of perfect ensemble. This was a performance that brought out the true beauty of Verdi's music.
The big names were absent: Duparc, D’Indy, Debussy, Ravel
and while Fauré, Chausson, Roussel and several members of Les Six put in an appearance, in less than familiar guises, this survey of French song of the early 20th century and interwar years deliberately took us on a journey through infrequently travelled terrain.
Composed between 1718 and 1720, Handel’s Esther is sometimes described as the ‘first English Oratorio’, but is in fact a hybrid form, mixing elements of oratorio, masque, pastoral and opera.
Hector Berlioz's légende dramatique, La Damnation de Faust, exists somewhere between cantata and opera. Berlioz's flexible attitude to dramatic form made the piece unworkable on the stages of early 19th century Paris and his music is so vivid that you wonder whether the piece needs staging at all.
St. John’s Smith Square was the site of Elizabeth Connell’s final London concert, intended as a farewell to London on her moving to Australia. It was rendered ultimately final by her unexpected death.
With the building of the Suez Canal, Egypt became more interesting to Western Europeans. Khedive Ismail Pasha wanted a hymn by Verdi for the opening of a new opera house in Cairo, but the composer said he did not write occasional pieces.
Back for its fourth revival, David McVicar’s 2003 production of Mozart’s Die Zauberflöte has much charm, beauty and artistry.
The economics of the recording companies dictate much that is not ideal.
Wagner’s operas were not composed as they were in order to permit the
extraction of bleeding chunks, even on those occasions when strophic song forms
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For its world class Easter Festival, Baden-Baden mounted a Die Zauberflöte that owed more to the grey penitential doldrums of Lent than to the unbridled jubilance of re-birth.
Once Berkeley Opera, renamed West Edge Opera, this enterprising company offers the Bay Area’s only serious alternative to corporate opera, to wit Bonjour M. Gauguin.
In the first of pianist Julius Drake’s three-part series,
‘Perspectives’, our gaze was directed at Gustav Mahler’s eclectic musical
responses to human experiences: from the trauma and distress of anguished love
to the sweet contentment of true friendship, from the agonised introspection of
the artist to the diverse dramas of human interaction.
The Los Angeles opera company marketed its spring production of Rossini's La Cenerentola as Cinderella though there is no opera by that name. The libretto of La Cenerentola is not the Cinderella story we know.
The Paris Opéra has not staged a full Ring Cycle since 1957, but its current season will conclude with a correction of this grand operatic gap.
26 Jan 2009
Dvořák: Kate and the Devil
On this 1955 recording of Dvořák's folk-tale based comic romp Kate and the Devil, conductor Zdenĕk Chalaba offers a lighter, faster approach than that heard on the modern studio version Supraphon released in 1981, under conductor Jiří Pinkas.
Pinkas keeps the energetic sections moving, while finding streaks of drama and unease elsewhere, not unlike that found in the grim tone poems the composer would soon compose, such as “The Noon Witch.”
The tracking of the two sets, helpfully identical, tells at least part of the story, with Chalaba’s earlier performance several minutes shorter on each of the two discs. The only clear advantage one set has over the other is the clear, clean sound of the more modern recording. Pinkas’s darker shadings work well, especially in the second act, set in Hades. But Chalaba’s cast of charismatic singers and the bumptious atmosphere make the opera seem a lot more fun. The singers under Pinkas have fine voices, but without the tang of personality of those in the 1955 recording.
Neither set, unfortunately, can make a case for Kate and the Devil as a lost masterpiece. Dvořák could not really compose dull music. His melodic gift, though strangely better exhibited in his symphonies than his operas, continually contributes to a stream of well-designed and colorfully orchestrated music.
Reading - and probably of necessity re-reading - the plot synopsis suggests the opera’s problem. In essence we have a story of a shrewish woman who manages to trick her way out of hell by intimidating the Devil himself. Mixed in with this are a shepherd and a princess, prompting some slams at the ruling class. It might seem refreshing that there is no real love story, and that even in her third act victory, Kate comes off with a cottage but still no husband, as she had hoped. However, there is no character for an audience to truly sympathize or identify with. It’s rather a shaggy dog story, maybe one that has just come in from the rain…
Even Dvořák’s most successful opera, Rusalka, can’t truly be said to be part of the standard repertoire. But those of us who love the warm-hearted generosity of this composer’s music will want to explore any work of his maturity. Either of the two Supraphon sets of this opera probably belong in such a fan’s collection, but both? Doubtful. Go for modern sound with Pinkas or old-school charm with Chalaba.