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Written at a time when both his theatrical business and physical health were in a bad way, Handel’s Faramondo was premiered at the King’s Theatre in January 1738, fared badly and sank rapidly into obscurity where it languished until the late-twentieth century.
Fabio Luisi conducted the London Symphony Orchestra in Brahms A German Requiem op 45 and Schubert, Symphony no 8 in B minor D759 ("Unfinished").at the Barbican Hall, London.
The atmosphere was a bit electric on February 25 for the opening night of
Leoš Janàček’s 1921 domestic tragedy, and not entirely in a
Applications are now open for the Bampton Classical Opera Young Singers’ Competition 2017. This biennial competition was first launched in 2013 to celebrate the company’s 20th birthday, and is aimed at identifying the finest emerging young opera singers currently working in the UK.
Each March France's splendid Opéra de Lyon mounts a cycle of operas that speak to a chosen theme. Just now the theme is Mémoires -- mythic productions of famed, now dead, late 20th century stage directors. These directors are Klaus Michael Grüber (1941-2008), Ruth Berghaus (1927-1996), and Heiner Müller (1929-1995).
Handel’s Partenope (1730), written for his first season at the King’s Theatre, is a paradox: an anti-heroic opera seria. It recounts a fictional historic episode with a healthy dose of buffa humour as heroism is held up to ridicule. Musicologist Edward Dent suggested that there was something Shakespearean about Partenope - and with its complex (nonsensical?) inter-relationships, cross-dressing disguises and concluding double-wedding it certainly has a touch of Twelfth Night about it. But, while the ‘plot’ may seem inconsequential or superficial, Handel’s music, as ever, probes the profundities of human nature.
The latest instalment of Wigmore Hall’s ambitious two-year project, ‘Schubert: The Complete Songs’, was presented by German tenor Christoph Prégardien and pianist Julius Drake.
On March 10, 2017, San Diego Opera presented an unusual version of Georges Bizet’s Carmen called La Tragédie de Carmen (The Tragedy of Carmen).
For his farewell production as director of opera at the Royal Opera House, Kasper Holten has chosen Wagner’s only ‘comedy’, Die Meistersinger von Nürnberg: an opera about the very medium in which it is written.
The dramatic strength that Stage Director Michael Scarola drew from his Pagliacci cast was absolutely amazing. He gave us a sizzling rendition of the libretto, pointing out every bit of foreshadowing built into the plot.
A skewering of the preening pretentiousness of the Pre-Raphaelites and Aesthetes of the late-nineteenth century, Gilbert and Sullivan’s 1881 operetta Patience outlives the fashion that fashioned it, and makes mincemeat of mincing dandies and divas, of whatever period, who value style over substance, art over life.
Irish mezzo-soprano Tara Erraught demonstrated a relaxed, easy manner and obvious enjoyment of both the music itself and its communication to the audience during this varied Rosenblatt Series concert at the Wigmore Hall. Erraught and her musical partners for the evening - clarinettist Ulrich Pluta and pianist James Baillieu - were equally adept at capturing both the fresh lyricism of the exchanges between voice and clarinet in the concert arias of the first half of the programme and clinching precise dramatic moods and moments in the operatic arias that followed the interval.
This Sunday the Metropolitan Opera will feature as part of the BBC Radio 3 documentary, Opera Across the Waves, in which critic and academic Flora Willson explores how opera is engaging new audiences. The 45-minute programme explores the roots of global opera broadcasting and how in particular, New York’s Metropolitan Opera became one of the most iconic and powerful
producers of opera.
On February 25, 2017, in Tucson and on the following March 3 in Phoenix, Arizona Opera presented its first world premiere, Craig Bohmler and Steven Mark Kohn’s Riders of the Purple Sage.
During the past few seasons, English Touring Opera has confirmed its triple-value: it takes opera to the parts of the UK that other companies frequently fail to reach; its inventive, often theme-based, programming and willingness to take risks shine a light on unfamiliar repertory which invariably offers unanticipated pleasures; the company provides a platform for young British singers who are easing their way into the ‘industry’, assuming a role that latterly ENO might have been expected to fulfil.
The first production of Ryan Wigglesworth’s first opera, based upon Shakespeare’s The Winter’s Tale, is clearly a major event in English National Opera’s somewhat trimmed-down season. Wigglesworth, who serves also as conductor and librettist, professes to have been obsessed with the play for more than twenty years, and one can see why The Winter’s Tale, with its theatrical ‘set-pieces’ - the oracle scene, the tempest, the miracle of a moving statue - and its grandiose emotions, dominated as the play is by Leontes’ obsessively articulated, over-intellectualized jealousy, would invite operatic adaptation.
Today, Wexford Festival Opera announced the programme and principal casting details for the forthcoming 2017 festival. Now in its 66th year, this internationally renowned festival will run over an extended 18-day period, from Thursday, 19 October to Sunday, 5 November.
A song cycle within a song symphony - Matthias Goerne's intriuging approach to Mahler song, with Marcus Hinterhäuser, at the Wigmore Hall, London. Mahler's entire output can be described as one vast symphony, spanning an arc that stretches from his earliest songs to the sketches for what would have been his tenth symphony. Song was integral to Mahler's compositional process, germinating ideas that could be used even in symphonies which don't employ conventional singing.
Gustav Mahler and fin-de-siècle Vienna will be the focus of the Oxford Lieder Festival (13-28 October 2017), exploring his influences, contemporaries and legacy. Mahler was a dominant musical personality: composer and preeminent conductor, steeped in tradition but a champion of the new. During this Festival, his complete songs with piano will be heard, inviting a fresh look at this ’symphonic’ composer and the enduring place of song in the musical landscape.
On February 21, 2017, San Diego Opera presented Giuseppe Verdi’s last composition, Falstaff, at the Civic Theater. Although this was the second performance in the run and the 21st was a Tuesday, there were no empty seats to be seen. General Director David Bennett assembled a stellar international cast that included baritone Roberto de Candia in the title role and mezzo-soprano Marianne Cornetti singing her first Mistress Quickly.
14 Jan 2009
Unjustly neglected, Dvorák’s Lieder are among his most engaging works, and this selection of some of his most important contributions to the genre demonstrate the range of emotions and the breadth of expression the composer used in these works.
Bernarda Fink, known for fine work in recordings of Händel’s operas conducted by René Jacobs, has also recorded some of Schubert’s Lieder with Gerold Huber, piano. Yet Fink’s recording of Lieder by Dvorák addresses a longstanding need in the Romantic repertoire in literature that seems suited well to her voice.
This recording spans Lieder from the entirety of Dvorák’s career, including the Pisně, Op. 2, Pisně z rukopisu Královédvorského, Op. 7, Cigánské melodie, Op. 55, V národnim tónu, Op. 73, Pisně, Op. 82, Pisně Milostné, Op. 83, and Pisně na slova Elišky Krásnohorské (without Opus number). This selection makes available approximately a third of the 93 Lieder that Dvorák composed, Of these works, the mature set of love songs, Pisně Milostné, Op. 83, offer a fine introduction to Dvorák’s Lieder. The third song, “Kol domu se ted’ potácim” (“I wander past the nearby house”) captures some of the lyricism associated with the composer and, at the same time, has an accompaniment that reflects the motion found in Dvorák’s popular Slavonic Dances and other popular works, and Fink delivers the vocal line sensitively, and Vignoles provides a solid accompaniment. Almost familiar sounding, this song is typical of Dvorák’s style and brings to mind the echoes of folksong that are part of some of Brahms’s contributions to the genre.
Such resemblances occur throughout Dvorák’s songs, which also reflect the modal inflections characteristic of his style. While not overtly imitating folksong, as occurs more often with Mahler, Dvorák makes use of such a stylistic element to underscore his text, which is presented here in Czech, with translations in German, French, and English in parallel columns in the neat booklet bound with the recording. In those works designated as related to folk music, such as V národnim tónu, Op. 73, Dvorák evokes the idiom subtly with conventional gestures like the triadic vocal line of the second song in the set “Žalo dievča” or the third with its inventive accompaniment. In his hands, though, such elements are not mere artifice, but woven into the structure of the music and not merely treated as an additive. Fink’s performance brings out the integrity implicit in this and other songs by Dvorák.
Such elements are more pronounced in his Cigánské melodie, Op. 55, which nominally evoke the Gypsy style. The first of the latter set (“Má piseň zas mi láskou zni,” a hymn of love, has all the intensity of an aria from one of Dvorák’s operas and demonstrate’s his fine sense of reinforcing the mood with the accompaniment. This set also includes familiar music by Dvorák, with the fourth piece being the well-known “Songs my mother taught me” (“Když mne stará marka zpivat učívala”), which Fink delivers earnestly. The other songs exhibit the exoticism of the Gypsy style through the rhythmically inventive accompaniments that suggest a dance-like response to the sung text.
In this recording Bernarda Fink makes an audible case for these excellent Lieder through her sensitive interpretation of them. The pieces she selected fit her voice well, and her sometimes understated performances allow Fink to turn phrases neatly. At the same time, her enunciation of Czech is clear and idiomatic, with accents fitting nicely into the music and phrases aptly stated. Beyond her technical finesse in these pieces, Fink’s intensity contributes to the overall quality of the recording, which deserves attention by anyone interested in Dvorák’s music.
Roger Vignoles brings to the recording his mastery of the accompaniments to create with Fink a seamless ensemble. Prominent when he needs to be and reticent where appropriate, Vignoles brings a consistent support to the musical content of the songs that transcends the technical divisions between voice and piano. Together, Fink and Vignoles achieve a balance to which some aspire and few achieve so well.
James L. Zychowicz