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Director Annabel Arden believes that Rossini’s Il barbiere di Siviglia is ‘all about playfulness, theatricality, light and movement’. It’s certainly ‘about’ those things and they are, as Arden suggests, ‘based in the music’.
George Enescu’s Oedipe was premiered in Paris 1936 but it has taken 80 years for the opera to reach the stage of Covent Garden. This production by Àlex Ollé (a member of the Catalan theatrical group, La Fura Dels Baus) and Valentina Carrasco, which arrives in London via La Monnaie where it was presented in 2011, was eagerly awaited and did not disappoint.
Lyric Opera of Chicago staged Charles Gounod’s Roméo et Juliette as the last opera in its current subscription season.
‘The plot is perhaps the least moral in all opera; wrong triumphs in the name of love and we are not expected to mind.’
Anthony Minghella’s production of Madame Butterfly for ENO is
wearing well. First seen in 2005, it is now being aired for the sixth time and is still, as I observed in 2013, ‘a breath-taking visual banquet’.
This concert version of La straniera felt like a compulsory musicology field trip, but it had enough vocal flashes to lobby for more frequent performances of this midway Bellini.
As poetry is the harmony of words, so music is that of notes; and as poetry is a rise above prose and oratory, so is music the exaltation of poetry.
From experiments with musique concrète in the 1940s, to the
Minimalists’ explorations into tape-loop effects in the 1960s, via the
appearance of hip-hop in the 1970s and its subsequent influence on electronic
dance music in the 1980s, to digital production methods today,
‘sampling’ techniques have been employed by musicians working in
genres as diverse as jazz fusion, psychedelic rock and classical music.
On May 7, 2016, San Diego Opera presented the West Coast premiere of Great Scott, an opera by Terrence McNally and Jake Heggie. McNally’s original libretto pokes fun at everything from football to bel canto period opera. It includes snippets of nineteenth century tunes as well as Heggie's own bel canto writing.
A foiled abduction, a castle-threatening inferno, romantic infatuation, guilt-laden near-suicide, gun-shots and knife-blows: Andrea Leone Tottola’s libretto for Vincenzo Bellini’s first opera, Adelson e Salvini, certainly does not lack dramatic incident.
Opera as an art form has never shied away from the grittier shadows of life. Nor has Manitoba Opera, with its recent past productions dealing with torture, incest, murder and desperate political prisoners still so tragically relevant today.
Published in 1855 as an entertainment for his two daughters, William Makepeace Thackeray’s The Rose and the Ring is a burlesque fairy-tale whose plot — to the author’s wilful delight, perhaps — defies summation and elucidation.
What more fitting memorial for composer Peter Maxwell Davies (d. 03/14/2016) than a splendid performance of The Lighthouse, the third of his eight works for the stage.
I suspect that many of those at the Wigmore Hall for The King’s
Consort’s performance of the La Senna festeggiante (The
Rejoicing Seine) were lured by the cachet of ‘Antonio Vivaldi’ and
further enticed by the notion of a lover’s serenade at which the generic
term ‘serenata’ seems to hint.
Having enjoyed superb singing by a young cast of soloists in Classical
Opera’s UK premiere of Jommelli’s Il Vogoleso the
previous evening, I was delighted that the 2016 Kathleen Ferrier Awards Final
at the Wigmore Hall confirmed the strength and depth of talent possessed by the
young singers studying in and emerging from our academies and conservatoires.
On February 7, 1786, Emperor Joseph II of Austria had brand new one-act operas by Wolfgang Amadeus Mozart and Antonio Salieri performed in the Schönbrunn Palace’s Orangery.
Those poor opera lovers in Cologne have a never ending problem with the city’s opera house. Together with the rest of city, the construction of the new opera house is mired in political incompetence.
London remains starved of Wagner. This season, its major companies offer but two works, Tannhäuser from the Royal Opera and Tristan from ENO.
Dmitry Bertman’s hilarious staging of Rimsky-Korsakov’s political sex-comedy The Golden Cockerel in Düsseldorf.
On April 16, 2016, San Diego Opera presented Giacomo Puccini’s sixth opera, Madama Butterfly, in an intriguing production by Garnett Bruce. Roberto Oswald’s scenery included the usual Japanese styled house with many sliding doors and walls. On either side, however, were blooming cherry trees with rough trunks and gnarled branches that looked as though they had been growing on the property for a hundred years.
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.