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Classical Opera’s MOZART 250 project has reached the year 1767. Two years ago, the company embarked upon an epic, 27-year exploration of the music written by Mozart and his contemporaries exactly 250 years previously. The series will incorporate 250th anniversary performances of all Mozart’s important compositions and artistic director Ian Page tells us that as 1767 ‘was the year in which Mozart started to write more substantial works - opera, oratorio, concertos
this will be the first year of MOZART 250 in which Mozart’s own music dominates the programme’.
‘[T]hey moderated or increased their voices, loud or soft, heavy or light according to the demands of the piece they were singing; now slowing, breaking of sometimes with a gentle sigh, now singing long passages legato or detached, now groups, now leaps, now with long trills, now with short, or again, with sweet running passages sung softly, to which one sometimes heard an echo answer unexpectedly. They accompanied the music and the sentiment with appropriate facial expressions, glances and gestures, with no awkward movements of the mouth or hands or body which might not express the feelings of the song. They made the words clear in such a way that one could hear even the last syllable of every word, which was never interrupted or suppressed by passages or other embellishments.’
An exceptional Wagner Der fliegende Holländer, so challenging that, at first, it seems shocking. But Kasper Holten's new production, currently at the Finnish National Opera, is also exceptionally intelligent.
A welcome addition to Lyric Opera of Chicago’s roster was its recent production of Jules Massenet’s Don Quichotte.
800 years ago, every book was a precious treasure - ‘written on skin’. In George Benjamin’s and Martin Crimp’s 2012 opera, Written on Skin, modern-day archivists search for one such artefact: a legendary 12th-century illustrated vanity project, commissioned by an unnamed Protector to record and celebrate his power.
It was like a “Date Night” at Staatsoper unter den Linden with
its return of Eike Gramss’ 2012 production of Puccini’s Madama
Butterfly. While I entered the Schiller Theater, the many young couples
venturing to the opera together, and emerging afterwards all lovey-dovey and
moved by Puccini’s melodramatic romance, encouraged me to think more
positively about the future of opera.
For the Late Night concert after the Saturday series, fifteen Berliners
backed up Barbara Hannigan in yet another adventurous collaboration on a modern
rarity with Simon Rattle. I was completely unfamiliar with the French composer,
but the performance tonight made me fall in love with Gérard
Grisey’s sensually disintegrating soundscape Quatre chants pour
franchir le seuil, or “Fours Songs to cross the
One of the things I love about the Philharmonie in Berlin, is the normalcy
of musical excellence week after week. Very few venues can pull off with such
illuminating star wattage. Michael Schade, Anne Schwanewilms, and Barbara
Hannigan performed in two concerts with two larger-than-life conductors
Thielemann and Rattle. We were taken on three thrilling adventures.
Lyric Opera of Chicago’s original and superbly cast production of Hector Berlioz’s Les Troyens has provided the musical public with a treasured opportunity to appreciate one of the great operatic achievements of the nineteenth century.
The Little Opera Company opened its 21st season by championing its own, as it presented the world premiere of Winnipeg composer Neil Weisensel’s Merry Christmas, Stephen Leacock.
In 2015, Bampton Classical Opera’s production of Salieri’s La grotta di Trofonio - a UK premiere - received well-deserved accolades: ‘a revelation ... the music is magnificent’ (Seen and Heard International), ‘giddily exciting, propelled by wit, charm and bags of joy’ (The Spectator), ‘lively, inventive ... a joy from start to finish’ (The Oxford Times), ‘They have done Salieri proud’ (The Arts Desk) and ‘an enthusiastic performance of riotously spirited music’ (Opera Britannia) were just some of the superlative compliments festooned by the critical press.
How many singers does it take to make an opera? There are single-role operas - Schönberg’s Erwartung (1924) and Eight Songs for a Mad King by Peter Maxwell Davies (1969) spring immediately to mind - and there are operas that just require a pair of performers, such as Rimsky-Korsakov’s Mozart i Salieri (1897) or The Telephone by Menotti (1947).
Now in its 31st year, the 2016 Christmas Festival at St John’s Smith Square has offered sixteen concerts performed by diverse ensembles, among them: the choirs of King’s College, London and Merton College, Oxford; Christchurch Cathedral Choir, Oxford; The Gesualdo Six; The Cardinall’s Musick; The Tallis Scholars; the choirs of Trinity College and Clare College, Cambridge; Tenebrae; Polyphony and the Orchestra of the Age of the Enlightment.
As 2016 draws to a close, we stand on the cusp of a post-Europe, pre-Trump world. Perhaps we will look back on current times with the nostalgic romanticism of Richard Strauss’s 1911 paean to past glories, comforts and certainties: Der Rosenkavalier.
Ah, Loft Opera. It’s part of the experience to wander down many dark
streets, confused and lost, in a part of Brooklyn you’ve never been. It
is that exclusive—you can’t even find the
Let’s start by getting a couple of gripes out of the way. First, the
final act of Die Walküre does not constitute a full-length
concert, even with a distinguished cast and orchestra, and with animated
drawings fluttering on a giant screen.
When you combine two charismatic New York stage divas with the artistry of Los Angeles Opera, you have a mix that explodes into singing, dancing and an evening of superb entertainment.
Roderick Williams’ and Julius Drake’s English Winter Journey seems such a perfect concept that one wonders why no one had previously thought of compiling a sequence of 24 songs by English composers to mirror, complement and discourse with Schubert’s song-cycle of love and loss.
A historical afternoon at the NTR Saturday Matinee occurred with an epic
concert version of Prokofiev’s Soviet Opera Semyon Kotko.
Opening night at the Metropolitan is a gleeful occasion even when the
composer is long gone, but December 1st was an opening for a living composer who
has been making waves around the world and is, gasp, a woman — the second woman
composer ever to have an opera presented at the Met.
08 Feb 2009
Magic Flute at ENO
‘Back by popular demand’ claimed ENO’s publicity material for the
21-year-old production which had its supposed swan-song last season – though it remains questionable whether the company ever really intended to get rid of it.
Although Nicholas Hytner’s staging takes more of a ‘family
entertainment’ approach than some more psychologically searching productions,
with overt jokes and a pantomime-villain Monostatos, it is one of the
company’s greatest assets; a well-established rite of passage for many of
ENO’s promising young singers, an ideal first night at the opera for a child
or adult beginner, and the sort of show which it seemingly isn’t possible to
Robert Lloyd as Sarastro and Sarah-Jane Davies as Pamina
On this occasion, Sarah-Jane Davies and Robert Murray were well-cast and
well-partnered as Tamino and Pamina. Davies sang in the last revival here,
and she has become a really lovely Mozartian singer, her beautifully
controlled soprano subtly imbued with pathos and emotion. Murray’s elegant
tenor was ideal for the high-born, high-minded youth, and he was eloquent in
his delivery of the English words. It was a shame that both seemed nervous
and tentative in their characterisation.
As the Queen of the Night, Emily Hindrichs’s small, brittle and
cleanly-placed soprano was initially impressive, but in the Act 2 spoken
dialogue her rage had little sense of a noblewoman’s wounded pride, and she
came across merely as petulant and shrill. Her subsequent aria had some
lapses in accuracy. Robert Lloyd – a rare sight on this stage, having
spent so much of his distinguished career at the Royal Opera – brought
gravitas and a fatherly presence to Sarastro, with bottom notes of rich
Jeremy Sams’s gently humorous colloquial dialogue was delivered in a wide
range of regional accents, some more real than others. In the case of the
Three Ladies (guest principal Kate Valentine and chorus-members Susanna
Tudor-Thomas and Deborah Davison) whose glamorous feather-trimmed
midnight-blue costumes demand a certain amount of upper-class bearing, the
use of various accents was a misjudgement; I wondered whether perhaps one of
the three had been unable to disguise a genuine accent, and the other two had
been obliged to affect accents of their own to compensate.
Papageno was played once again as a genial Yorkshireman by the very
likeable Roderick Williams, though through no fault of his own he had trouble
living up to his job description on this occasion. Two of the four real white
doves, whose behaviour when they appear on stage during the Bird-catcher’s
Song is usually impeccable, got uncharacteristically overexcited and decided
it might be fun to evade capture. It took an additional pair of hands and a
good two or three minutes to round them up, amid much audience mirth. The
joys of live theatre!
Emily Hindrichs as The Queen of Night and Robert Murray as Tamino
If the birds were intent on demonstrating the wisdom of the oft-repeated
advice never to work with children or animals, trebles Charlie Manton, Louis
Watkins and Harry Manton were here for the defence. They were quite the
finest trio of boys I can recall hearing, perfectly in tune and impeccably
Conductor Erik Nielsen (Kapellmeister of the Frankfurt Opera), in his
house debut, was rather stately and mannered in a heavily Baroque-inflected
overture, but from then on his reading had a poised and even pacing that
Sarah-Jane Davies as Pamina with the Three Spirits (Charlie Manton, Louis Watkins & Harry Manton)
The company has been strangely quiet on the subject of whether the staging
has now been officially retired, or whether it has been granted a more
permanent reprieve. But now that opera companies have a bigger challenge than
ever in competing for audience spending power, it would surely be a waste to
scrap such a sure-fire hit as this. It keeps those doves in work,
Ruth Elleson © 2009