Recently in Reviews
Opera Philadelphia deserves congratulations on yet another coup. The company
co-commissioned Cold Mountain, an opera by Jennifer Higdon based on
Gene Scheer’s adaptation of Charles Frazier’s celebrated Civil War
For their first of two recitals at the Wigmore Hall, Christian Gerhaher and Gerold Huber devised an interesting programme - popular Schubert mixed with songs by Wolfgang Rihm and by Huber himself.
There are not many opera productions that you would cross oceans to see. Graham
Vick’s Götterdämmerung in Sicily however compelled such a voyage.
Premièred in 1877 at Offenbach’s own Théâtre des Bouffes Parisiens, Emmanuel Chabrier’s L’Étoile has a libretto, by Eugène Leterrier and Albert Vanloo, which stirs the blackly comic, the farcical and the bizarre into a surreal melange, blending contemporary satire with the frankly outlandish.
Robert Ashley’s opera-novel Quicksand makes for a novel
One of the leading Russian composers of his generation, Alexander
Raskatov’s reputation in the UK and western Europe derives from several,
recent large-scale compositions, such as his reconstruction of Alfred
Schnittke’s Ninth Symphony from a barely legible manuscript (the work was
first performed in 2007 in the Dresden Frauenkirche by the Dresden Philharmonic
under Dennis Russell Davies), and his 2010 opera A Dog’s Heart,
based on Mikhail Bulgakov’s satire (which was directed by Simon McBurney
at English National Opera in 2010, following the opera’s premiere at
Netherlands Opera earlier that year).
I’m not sure that St John’s Smith Square was the most
appropriate venue for Opera Danube’s latest production: Jacques
Offenbach’s satirical frolic, Orpheus in the Underworld.
This nasty little opera evening in Lyon lived up to the opera’s initial reputation as pure pornophony. This is the erotic Shostakovich of the D minor cello sonata, it is the sarcastic and complicated Shostakovich of The Nose . . .
During December 2015 and presently in January Lyric Opera of Chicago has featured the world premiere of the opera Bel Canto, with music by Jimmy López and libretto by Nilo Cruz, based on the novel by Ann Patchett.
Christmas at the Royal Opera House is all about magic, mystery and miracles: as represented by the conjuror’s exploits in The Nutcracker — with its Kingdom of Sweets and Sugar Plum Fairy — or, as in the Linbury Theatre this year, the fantastical adventures of the Firework-Maker’s Daughter, Lila, and her companions — a lovesick elephant, swashbuckling pirates, tropical beasts and Fire-Fiends.
The title role is a deciding factor in Madama Butterfly. Despite a
last-minute conductor cancellation, last Saturday’s concert performance
at the Concertgebouw was a resounding success, thanks to Lianna
Haroutounian’s opulent, heart-stealing Cio-Cio-San.
With this performance of vocal and instrumental works composed by the
10-year-old Mozart and his contemporaries during 1766, Classical Opera entered
the second year of their 27-year project, MOZART 250, which is
designed to ‘contextualise the development and influences of [sic] the
composer’s artistic personality’ and, more audaciously, to
‘follow the path that subsequently led to some of the greatest
cornerstones of our civilisation’.
Luca Pisaroni and Wolfram Rieger were due to give the latest installment in the Wigmore Hall's complete Schubert songs series, but both had to cancel at short notice. Fortunately, the Wigmore Hall rises to such contingencies, and gave us Benjamin Appl and Jonathan Ware. Since there's a huge buzz about Appl, this was an opportunity to hear more of what he can do.
The phrase ‘Sunday afternoon concert’ may suggest light, post-prandial entertainment, but soprano Gemma Lois Summerfield and her accompanist, Simon Lepper, swept away any such conceptions in this demanding programme at St. John’s Smith Square.
When, o when, will someone put Peter Sellars and his compendium of clichés
out of our misery?
This recording, made in the Adrian Boult Hall at the Birmingham Conservatoire of Music in June 2014, is the fourth disc in SOMM’s series of recordings with Paul Spicer and the Birmingham Conservatoire Chamber Choir.
Having recently followed some by-ways through the music of Purcell, Monteverdi and Cavalli, L’Arpeggiata turned the spotlight on traditional folk music in this characteristically vibrant and high-spirited performance at the Wigmore Hall.
Edward Gardner brought all his experience as a choral and opera conductor to bear in this stirring performance of Michael Tippett’s A Child of Our Time at the Barbican Hall, with a fine cast of soloists, the BBC Symphony Orchestra and BBC Symphony Chorus.
‘Apt for voices or viols’: eager to maximise sales among the domestic market in Elizabethan England, publishers emphasised that the music contained in collections such as Thomas Morley’s First Book of Madrigals to Four Voices of 1594 was suitable for performance by any combination of singers and players.
It was a single title but a double bill and there was far more happening than Gordon Getty and Claude Debussy. Starting with Edgar Allen Poe.
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.