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Is A Dog’s Heart even an opera? It is sung by opera singers to live
music. Alexander Raskatov’s score, however, is secondary to the incredible
stage visuals. Whatever it is, actor/director Simon McBurney’s first stab at
opera is fantastic theatre. Its revival at Dutch National Opera, where it
premiered in 2010, is hugely welcome.
In May 2016, Opera Rara gave Bellini aficionados a treat when they gave a concert performance of Vincenzo Bellini’s first opera, Adelson e Salvini, at the Barbican Hall. The preceding week had been spent in the BBC’s Maida Vale Studios, and this recording, released last month, is a very welcome addition to Opera Rara’s bel canto catalogue.
Jonas Kaufmann Mahler Das Lied von der Erde is utterly unique but also works surprisingly well as a musical experience. This won't appeal to superficial listeners, but will reward those who take Mahler seriously enough to value the challenge of new perspectives.
Following Garsington Opera for All’s successful second year of free public screenings on beaches, river banks and parks in isolated coastal and rural communities, Handel’s sparkling masterpiece Semele will be screened in four areas across the UK in 2017. Free events are programmed for Skegness (1 July), Ramsgate (22 July), Bridgwater (29 July) and Grimsby (11 October).
I kept hearing from knowledgeable opera fanatics that the Israeli Opera (IO) in Tel Aviv was a surprising sure bet. So I made my way to the Homeland to hear how supposedly great the quality of opera was. And man, I was in for treat.
At Phoenix’s Symphony Hall on Friday evening April 7, Arizona Opera offered its final presentation of the 2016-2017 season, Gioachino Rossini’s Cinderella (La Cenerentola). The stars of the show were Daniela Mack as Cinderella, called Angelina in the opera, and Alek Shrader as Don Ramiro. Actually, Mack and Shrader are married couple who met singing these same roles at San Francisco Opera.
On Saturday evening April 1, 2017, Placido Domingo and Los Angeles Opera celebrated their tenth year of training young opera artists in the Domingo-Colburn-Stein Program. From the singing I heard, they definitely have something of which to be proud.
The Festspielhaus in Baden-Baden pretty much programs only big stars. A prime example was the Fall Festival this season. Grigory Sokolov opened with a piano recital, which I did not attend. I came for Cecilia Bartoli in Bellini’s Norma and Christian Gerhaher with Schubert’s Die Winterreise, and Anne-Sophie Mutter breathtakingly delivering Mendelssohn’s Violin Concerto together with the London Philharmonic Orchestra. Robin Ticciati, the ballerino conductor, is not my favorite, but together they certainly impressed in Mendelssohn.
Mahler as dramatist! Mahler Symphony no 8 with Vladimir Jurowski and the London Philharmonic Orchestra at the Royal Festival Hall. Now we know why Mahler didn't write opera. His music is inherently theatrical, and his dramas lie not in narrative but in internal metaphysics. The Royal Festival Hall itself played a role, literally, since the singers moved round the performance space, making the music feel particularly fluid and dynamic. This was no ordinary concert.
Imagine a fête galante by Jean-Antoine Watteau brought to life, its colour and movement infusing a bucolic scene with charm and theatricality. Jean-Philippe Rameau’s opéra-ballet Les fêtes d'Hébé, ou Les talens lyriques, is one such amorous pastoral allegory, its three entrées populated by shepherds and sylvans, real characters such as Sapho and mythological gods such as Mercury.
Details of the Royal Opera House's 2017/18 Season have been announced. Oliver Mears, who will begin his tenure as Director of Opera, comments:
“I am delighted to introduce my first Season as Director of Opera for The Royal Opera House. As I begin this role, and as the world continues to reel from social and political tumult, it is reassuring to contemplate the talent and traditions that underpin this great building’s history. For centuries, a theatre on this site has welcomed all classes - even in times of revolution and war - to enjoy the most extraordinary combination of music and drama ever devised. Since the time of Handel, Covent Garden has been home to the most outstanding performers, composers and artists of every era. And for centuries, the joyous and often tragic art form of opera has offered a means by which we can be transported to another world, in all its wonderful excess and beauty.”
Whatever one’s own religious or spiritual beliefs, Bach’s St Matthew Passion is one of the most, perhaps the most, affecting depictions of the torturous final episodes of Jesus Christ’s mortal life on earth: simultaneously harrowing and beautiful, juxtaposing tender stillness with tragic urgency.
Lindy Hume’s sensational La bohème at the Berliner
Staatsoper brings out the moxie in Puccini. Abdellah Lasri emerged as a
stunning discovery. He floored me with his tenor voice through which he
embodied a perfect Rodolfo.
Listening to Moritz Eggert’s Caliban is the equivalent of
watching a flea-ridden dog chasing its own tail for one-and-half hours. It
scratches, twitches and yelps. Occasionally, it blinks pleadingly, but you
can’t bring yourself to care for such a foolish animal and its
A large audience packed into the Wigmore Hall to hear the two Baroque rarities featured in this melodious performance by Christian Curnyn’s Early Opera Company. One was by the most distinguished ‘home-grown’ eighteenth-century musician, whose music - excepting some of the lively symphonies - remains seldom performed. The other was the work of a Saxon who - despite a few ups and downs in his relationship with the ‘natives’ - made London his home for forty-five years and invented that so English of genres, the dramatic oratorio.
A new recording, made late last year, Morfydd Owen : Portrait of a Lost Icon, from Tŷ Cerdd, specialists in Welsh music, reveals Owen as one of the more distinctive voices in British music of her era : a grand claim but not without foundation. To this day, Owen's tally of prizes awarded by the Royal Academy of Music remains unrivalled.
On March 24, 2017, Los Angeles Opera revived its co-production of Jacques Offenbach’s The Tales of Hoffmann which has also been seen at the Mariinsky Opera in Leningrad and the Washington National Opera in the District of Columbia.
Ermonela Jaho is fast becoming a favourite of Covent Garden audiences, following her acclaimed appearances in the House as Mimì, Manon and Suor Angelica, and on the evidence of this terrific performance as Puccini’s Japanese ingénue, Cio-Cio-San, it’s easy to understand why. Taking the title role in the first of two casts for this fifth revival of Moshe Leiser’s and Patrice Caurier’s 2003 production of Madame Butterfly, Jaho was every inch the love-sick 15-year-old: innocent, fresh, vulnerable, her hope unfaltering, her heart unwavering.
Calliope Tsoupaki’s latest opera, Fortress Europe, premiered
as spring began taming the winter storms in the Mediterranean.
To celebrate its 40th anniversary New Sussex Opera has set itself the challenge of bringing together the six scenes - sometimes described as six discrete ‘tone poems’ - which form Delius’s A Village Romeo and Juliet into a coherent musico-dramatic narrative.
29 Mar 2009
Farinelli — Il Castrato
Naïve re-releases the soundtrack to the film Farinelli here in a handsome “book” casing, appending a second disc of highlights from the discography of Christophe Rousset’s recordings with Les Talens Lyriques, the artists also responsible for the soundtrack.
This is not, however, the typical film soundtrack of a sort of overture, perhaps a song or two, and various musical cues that don’t convey much out of the context of the film. Disc one consists of eleven complete performances of arias and overtures, from composers as famous as Handel and Pergolese (as the Naive booklet spells it) to the relatively obscure, such as Broschi and Idaspe (a particularly lovely piece, Ombra fedele anch’io).
A brief booklet note titled “Reinventing a castrato’s voice” details the unique feature of this soundtrack: the producers, in conjunction with the Institut de Recherches et Coordination Acoustique Musique, found a way in the studio to meld the voice of a counter-tenor (Derek Lee Ragin) with that of a soprano (Ewa Mallas-Godlewska). The intention was to capture something of what a true castrato sounded like, with an extraordinary range and a timbre that, at least supposedly, retained masculine authority while climbing stratospheric heights. Technically, IRCAM produced a seamless blend; it is not easily apparent when and where the two voices separate or shift primarily to one or the other singer. Nonetheless, there are many moments where Ragin’s counter-tenor, a somewhat reedy instrument, clearly predominates, and others where the feminine sound Mallas-Godlewska produces come to the fore. As an aural experience, then, your reviewer did not find the vocals suggesting any true sense of a castrato sound — with the big caveat that it is not entirely possible to know what that sound might have been, especially in the case of a superstar of his time, as Farinelli was.
The two tracks of arias from Handel’s Rinaldo exemplify the problem of the recording. In music as familiar as “Lascia ch’io pianga” or “Cara sposa,” listeners may well have heard superior versions by singers such as David Daniels or Maria Bayo. The innovation of a recording process that ostensibly captures a castrato sound can’t make up for the fact that the vocal performances captured here just aren’t all that special.
Rousset and his band play immaculately, and listeners who prefer the leaner, tauter sound of historically-informed performances will surely enjoy their efforts. While respecting the musicianship, your reviewer often longed for a richer string sound and more body overall.
Somehow, the selections on the second disc, covering many other Rousset and Les Talens Lyrique recordings, didn’t produce the same dissatisfaction. Overtures and other brief instrumental pieces by Lully, Johann Sebastian Bach and his son Carl Philip Emanuel, Purcell, Salieri, and others receive joyous, exuberant performances. Naïve makes its reason for the inclusion of this disc along with the Farinelli soundtrack clear, with the last pages of the booklet dedicated to cover shots of the CDs from which the music was taken.
In your reviewer’s memory, Farinelli was a very entertaining film. If a high-quality DVD of the film were available, that should receive due consideration, as the performances work very well in conjunction with the visuals. But the set does offer handsome packaging and that enjoyable second disc of material.