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The mysteries and myths surrounding Mozart’s Requiem Mass - left unfinished at his death and completed by his pupil, Franz Xaver Süssmayr - abide, reinvigorated and prolonged by Peter Shaffer’s play Amadeus as directed on film by Miloš Forman. The origins of the work’s commission and composition remain unknown but in our collective cultural and musical consciousness the Requiem has come to assume an autobiographical role: as if Mozart was composing a mass for his own presaged death.
I saw two operas consecutively at Oper Koln. First, the utterly
bewildering Lucia di Lammermoor; then Thilo Reinhardt’s
thrilling Tosca. His staging was pure operatic joy with some
Bernard Haitink’s monumental Bruckner and Mahler performances with
the Royal Concertgebouw Orchestra (RCO) got me hooked on classical music.
His legendary performance of Bruckner’s Symphony No. 8 in
C-minor, where in the Finale loosened plaster fell from the
Concertgebouw ceiling, is still recounted in Amsterdam.
Karita Mattila was born to sing Emilia Marty, the diva around whom revolves Leoš Janáček's The Makropulos Affair (Věc Makropulos). At Prom 45, she shone all the more because she was conducted by Jirí Belohlávek and performed alongside a superb cast from the National Theatre, Prague, probably the finest and most idiomatic exponents of this repertoire.
‘Two outrageous operas in one crazy evening,’ reads the bill. Hyperbole? Certainly not when the operas are two of Jacques Offenbach’s more off-the-wall bouffoneries and when the company is Opera della Luna whose artistic director, Jeff Clarke, is blessed with the comic imagination and theatrical nous to turn even the most vacuous trivia into a sharp and sassy riotous romp.
This performance of Britten's A Midsummer Night's Dream at Glyndebourne was so good that it was the highlight of the whole season, making the term ‘revival’ utterly irrelevant. Jakub Hrůša is always stimulating, but on this occasion, his conducting was so inspired that I found myself closing my eyes in order to concentrate on what he revealed in Britten's quirky but brilliant score. Eyes closed in this famous production by Peter Hall, first seen in 1981?
A staged piano recital and an opera as a concert. Pianist András Schiff accompanied the Salzburg Marionette Theater at the Mozarteum Grosser Saal and Anna Netrebko sang Manon Lescaut at the Grosses Festspielhaus.
On August 4, 2016, soprano Leah Crocetto and accompanist Tamara Sanikidze gave a recital at the Scottish Rite Center in Santa Fe New Mexico. A winner of the Metropolitan Opera Auditions and the BBC Cardiff Singer of the World Contest, this year Crocetto was singing Donna Anna in Santa Fe Opera’s excellent Don Giovanni.
On July 31, 2016, against the ethereal beauty of the main hall in the Scottish Rite Center, soprano Angela Meade and pianist Joe Illick gave a recital offering both opera and art songs ranging in origin from early nineteenth century Europe to mid twentieth century America. Many in the audience probably remembered Meade’s recent excellent portrayal of Norma at Los Angeles Opera.
When more is definitely more, and less would indeed be less. Two of the biggest names in Italian theater art collide in an eponymous theater.
It was the fifth Proms Chamber Music concert at Cadogan Hall this season, and we were celebrating Shakespeare’s 400th. And, given the extent and range of the composers and artists, and the diversity and profundity of the musical achievement inspired by the Bard, we could probably keep celebrating in this fashion ad infinitum.
Each August the bleak and leaky, 12,000 seat Arena Adriatica (home of the famed Pesaro basketball team) magically transforms itself into an improvised opera house that boasts the ultimate in opera chic — exemplary Rossini production standards for its now twelve hundred seats.
This highly enjoyable Prom, part of 2016’s ‘Proms at
’ mini-series, took as its guiding concept the reopening of London’s theatres following the Restoration, focusing in particular upon musical and dramatic responses to Shakespeare. Purcell, rightly, loomed large, with John Blow and Matthew Locke joining him. Receiving their Proms premieres were the excerpts from Timon of Athens and those from Locke’s The Tempest.
With all the bombast of the presidential campaigns rattling in our heads, with invectives being exchanged and measured discussion all but absent, how utterly lovely to retreat and relax into the harmonious soundscape and well-reasoned debate posed in Strauss’ Capriccio, on magnificent display at Santa Fe Opera.
When we entered the Crosby Theatre for Gounod’s Roméo et Juliette the stage was surprisingly dominated by a somber, semi-circular black mausoleum, many chambers inscribed with scrambled names of US Civil War era dead.
Molten passions were seething just below the icy Nordic exterior of Santa Fe
Opera’s wholly masterful production of Barber’s Vanessa.
Farce is probably the most difficult of dramatic comedy sub-genres to put across. A farce got up in the stately robes of opera sets its presenters an even higher bar. Presenting an operatic farce on a notoriously chilly and cavernous auditorium is to risk catastrophe.
Fan interest began raging when Santa Fe Opera engaged venerable artist Patricia Racette to make her role debut as Minnie in Puccini’s La Fanciulla del West.
A funny thing happened on the way to Andalusia.
The tale of a Syrian donkey driver. And, yes, the donkey stole the show! The competition was intense — the Vienna Philharmonic and the Grosses Festspielhaus in full production regalia for starters.
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.