Recently in Reviews
Philippe Jaroussky lends poetry and poise to the sounds of nineteenth- and
At this start of the year, Classical Opera embarked upon an ambitious project. MOZART 250 will see the company devote part of its programme
each season during the next 27 years to exploring the music by Mozart and his
contemporaries which was being written and performed exactly 250 years
The Concordia Foundation was founded in the early 1990s by international singer and broadcaster Gillian Humphreys, out of her ‘real concern for building bridges of friendship and excellence through music and the arts’.
An opera dealing with — or at least claiming to deal with — the events of 11 September 2001? I suppose it had to come, but that does not necessarily make it any more necessary.
On April 10, 2015, Arizona Opera ended its season with La Fille du Régiment at Phoenix Symphony Hall. A passionate Marie, Susannah Biller was a veritable energizer bunny onstage. Her voice is bright and flexible with a good bloom on top and a tiny bit of steel in it. Having created an exciting character, she sang with agility as well as passion.
This second revival of Patrice Caurier and Moshe Leiser’s 2005 production of Rossini’s Il Turco in Italia seems to have every going for it: excellent principals comprising experienced old-hands and exciting new voices, infinite gags and japes, and the visual éclat of Agostino Cavalca’s colour-bursting costumes and Christian Fenouillat’s sunny sets which evoke the style, glamour and ease of La Dolce Vita.
English Touring Opera’s 2015 Spring Tour is audacious and thought-provoking. Alongside La Bohème the company have programmed a revival of their acclaimed 2013 production of Donizetti’s The Siege of Calais (L’assedio di Calais) and the composer’s equally rare
The Wild Man of the West Indies (Il furioso all’isola di San
Mary Zimmerman’s still-fresh production is made fresher still by Shagimuratova’s glimmering voice, but the acting disappoints
When WNYC’s John Schaefer introduced Meredith Monk’s beloved Panda
Chant II, which concluded the four-and-a-half hour Meredith Monk &
Friends celebration at Carnegie’s Zankel Hall, he described it as “an expression of joy and musicality” before lamenting the fact that playing it on his radio show could never quite compete with a live performance.
This year’s concert of the Chicago Bach Project, under the aegis of the Soli Deo Gloria Music Foundation, was a presentation of the St. John Passion (BWV 245) at the Harris Theater in Millennium Park.
It is not an everyday opera. It is an opera that illuminates a larger verismo history.
On March 26, 2015, Los Angeles Opera presented Mozart’s Le nozze di Figaro (The Marriage of Figaro). The Ian Judge production featured jewel-colored box sets by Tim Goodchild that threw the voices out into the hall. Only for the finale did the set open up on to a garden that filled the whole stage and at the very end featured actual fireworks.
Gotham Chamber Opera’s latest project, The Tempest Songbook, continues to
explore the possibilities of unconventional spaces and unconventional programs
that the company has made its hallmark. The results were musically and
theatrically thought-provoking, and left me wanting more.
Nixon in China is a three-act opera with a libretto by Alice Goodman and music by John Adams that was first seen at the Houston Grand Opera on October 22, 1987. It was the first of a notable line of operas by the composer.
It is thanks to Céline Ricci, mezzo-soprano and director of Ars Minerva, that we have been able to again hear Daniele Castrovillari’s exquisite melodies because she is the musician who has brought his 1662 opera La Cleopatra to life.
Lyric Opera of Chicago, in association with the Royal Opera House, Covent Garden, has staged a production of Richard Wagner’s Tannhäuser with an estimable cast.
Puccini and his fellow verismo-ists are commonly associated with explosions of unbridled human passion and raw, violent pain, but in this revival (by Justin Way) of Moshe Leiser’s and Patrice Caurier’s 2003 production of Madame Butterfly, directorial understatement together with ravishing scenic beauty are shown to be more potent ways of enabling the sung voice to reveal the emotional depths of human tragedy.
Rarely, very rarely does a Tosca come around that you can get excited about. Sure, sometimes there is good singing, less often good conducting but rarely is there a mise en scène that goes beyond stock opera vocabulary.
The Nash Ensemble’s 50th Anniversary Celebrations at the Wigmore Hall were crowned by a recital that typifies the Nash’s visionary mission. Above, the dearly-loved founder, Amelia Freeman, a quietly revolutionary figure in her own way, who has immeasurably enriched the cultural life of this country.
On March 7, 2015, Arizona Opera presented Dan Rigazzi’s production of Die Zauberflöte in Tucson. Inspired by the works of René Magritte, designer John Pollard filled the stage with various sizes of picture frames, windows, and portals from which he leads us into Mozart and Schikaneder’s dream world.
08 Feb 2009
Liber Evangeliorum: Verse and Music From the Age of Charlemagne
The emergence of a standardized western liturgy with a uniform chant repertory, while to a significant degree realized, neither completely silenced regional liturgies nor extinguished the additions to liturgical practice that comprise much medieval creativity.
Evangeliorum by the ninth-century monk of Wessenburg Abbey, Otfrid, is a
rich example of the creative spirit seeking an outlet. Otfrid’s work
provides in vernacular Old High German a poetic text of Gospel narratives,
“harmonized” from the different Gospel accounts. Significantly,
this text survives in a source that gives St. Gall neumes with some of the
verses, confirming that, at least at one time, the text was sung, and in a
liturgical context. And it is the challenge of this possibility that the
splendid Ensemble Officium embraces.
Ensemble Officium’s recording reconstructs possible musical versions
of some of Otfrid’s verses and interweaves them with Gregorian
responsories and hymns for Advent and Christmas, and in so doing creates
something of the idea of an embellished Vigils liturgy as might have been
experienced in the St. Gall orbit. The liturgical reconstruction is
“loose” — the chants are drawn from diverse days, for
instance — but the interplay of vernacular lessons (Otfrid’s
texts) and canonical liturgical material is engaging and resembles the
dynamic of lection and lyrical response at the core of the night office.
The recreations of Otfrid’s verses favor variety. In some instances
the texts are spoken, in others they are sung to recitational chant. In still
others, the verses are spoken to the improvised accompaniment of fiddles,
occasionally (and richly) in counterpoint with polyphonic choral lines. The
renditions of the liturgical chants are also interestingly conceived, often
with instrumental drones and counterpoints, as well as polyphonic vocal
The ensemble is a mixed personnel with both men and women singers. And
while the execution is uniformly impressive, the sound of the women is
particularly stunning, with pure, bright, highly focused tone. Some of the
chants are lengthy — the invitatory “Praeoccupemus”
approaches ten minutes, for instance — but the tone and approach are
entrancing and hypnotic, with little temptation to check the clock.
Liber Evangelorium is imaginatively conceived and engagingly
rendered. Given the amount of interpretation and reconstruction
required—the musical notation is imprecise, the performance practice
flexible, the liturgical context uncertain — there are ample
opportunities for missteps. The historical record offers little room for
certainties here, but the aesthetic results of the program and its
performance are most assuredly gratifying.
One drawback to the CD, however, is the relative lack of translations. All
of the texts have a modern German translation printed; Otfrid’s texts
have thumbnail sketches in English and French, as well; the liturgical texts
are translated in German without the summaries. Given the care that has been
taken in creating the liturgical dynamic, broader access to the text would
seem a fitting improvement.