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Commenting on her recent, highly acclaimed CD release of late-nineteenth-century song, Chansons Perpétuelles (Naive: V5355), Canadian contralto Marie-Nicole Lemieux remarked ‘it’s that intimate side that interests me
I wanted to emphasise the genuinely embodied, physical side of the sensuality [in Fauré]’.
An evening of strange-bedfellow one-acts in high-concept stagings, mindbogglingly delightful.
On February 19, 2015, Pacific Symphony presented its annual performance of a semi-staged opera. This year’s presentation at the Segerstrom Center for the Arts in Costa Mesa, California, featured Georges Bizet’s Carmen. Director Dean Anthony used the front of the stage and a few solid set pieces by Scenic Designer Matt Scarpino to depict the opera’s various scenes.
Although the English National Opera has been decidedly sparing with its Wagner for quite some time now, its recent track record, leaving aside a disastrous Ring, has perhaps been better than that at Covent Garden.
On Friday February 20, 2015, San Diego Opera presented Mozart’s Don Giovanni in a production by Nicholas Muni originally seen at Cincinnati Opera.
In a production first seen in Houston several years ago, and now revised by its director John Caird, Puccini’s Tosca has returned to Lyric Opera of Chicago with two casts, partially different, scheduled into March of the present season.
Henri Dutilleux’s music has its devotees. I am yet to join their ranks, but had no reason to think this was not an admirable performance of his song-cycle Correspondances.
In 1980, the Metropolitan Opera commissioned composer John Corigliano to write an opera celebrating the company’s one-hundredth anniversary. It was to be ready in 1983.
English National Opera’s revival of Peter Konwitschny’s production of Verdi’s La Traviata had many elements in common with the
production’s original outing in 2013 (The production was a co-production with Opera Graz, where it had debuted in 2011).
You might believe you could go to an opera and take in what you see at face value. But if you did that just now in Lyon you would have had no idea what was going on.
I wonder whether we need a new way of thinking — and talking — about operatic ‘revivals’. Perhaps the term is more meaningful when it comes to works that have been dead and buried for years, before being rediscovered by subsequent generations.
Hopefully this brilliant new production of Iphigénie en Tauride from the Grand Théâtre de Genève will find its way to the new world now that Gluck’s masterpiece has been introduced to American audiences.
Tristan first appeared on the stage of the Théâtre du Capitole in 1928, sung in French, the same language that served its 1942 production even with Wehrmacht tanks parked in front of the opera house.
Arizona Opera presented Eugene Onegin during and 1999-2000 season
and again on February 1 of this year as part of the 2014-2015 season. In this
country Onegin is not a crowd pleaser like La Bohème or
Carmen, but its story is believable and its music melodic and
memorable. Just hum the beginning of the “Polonaise” and your friends will
know the music, if not where it comes from.
Florian Boesch and Roger Vignoles at the Wigmore Hall in Ernst Krenek’s Reisebuch aus den österreichischen Alpen. Matthias Goerne has called Hanns Eisler’s Hollywooder Liederbuch the Winterreise of the 20th century. Boesch and Vignoles showed how Krenek’s Reisebuch is a journey of discovery into identity at an era of extreme social change. It is a parable, indeed, of modern times.
Lyric Opera of Chicago’s new Anna Bolena, a production shared with Minnesota Opera, features a distinguished cast including several notable premieres.
On Tuesday January 27, 2015, San Diego Opera presented Giacomo Puccini's La Boheme. It is the opera with which the company opened in 1965 and a work that the company has faithfully performed every five years since then.
Last year we tracked Orfeo on his desperate search for his lost Euridice, through the labyrinths and studio spaces of Central St Martin’s; this year we were plunged into Macbeth’s tragic pursuit of power in the bare blackness of the CSM’s Platform Theatre.
Béla Bartók’s only opera, Duke Bluebeard’s Castle, composed in 1911 and based upon a libretto by the Hungarian writer Béla Balázs, was not initially a success.
Káťa Kabanová is, they say, Janáček's first mature opera — it comes a mere 20 years after his masterpiece, Jenůfa.
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.