Recently in Reviews
In a recent article in BBC Music Magazine tenor James Gilchrist reflected on the reason why early-nineteenth-century England produced no corpus of art song to match the German lieder of Schumann, Schubert and others, despite the great flowering of English Romantic poetry during this period.
With the New York Premiere of Florencia en el Amazonas, the New York City Opera Steps Out of the Shadows of the Past
Opportunities to see Idomeneo are not so frequent as they might be, certainly not so frequent as they should be.
Not merely Don Carlo, but the five-act Don Carlo in the 1886 Modena version! The welcomed esotericism of San Francisco Opera’s extraordinary spring season.
The early summer San Francisco Opera season has the feel of a classy festival. There is an introduction of Spanish director Calixto Bieito to American audiences, a five-act Don Carlo and two awaited, inevitable role debuts, Karita Mattila as Kostelnička and Malin Bystrom as Janacek's Jenůfa.
Now that the curtain has long fallen on the third and last performance of
the Ring cycle at the Washington National Opera (WNO), it is safe to
say that the long-anticipated production has been an unqualified success for
the company, director Francesca Zambello, and conductor Philippe Auguin.
Most of the attention during this revival of Daniele Abbado’s 2013 production of Nabucco has been directed at Plácido Domingo’s reprise of the title role, with the critical reception somewhat mixed.
My first Tristan, indeed my first Wagner, in the theatre was ENO’s previous staging of the work, twenty years ago, in 1996. The experience, as it
should, as it must, although this is alas far from a given, quite overwhelmed me.
Four years ago, almost to the day (13th to 12th), I saw Melly Still’s production of The Cunning Little Vixen during its first Glyndebourne run. I found
myself surprised how much more warmly I responded to it this time.
This recital celebrated both the work of the Park Lane Group, which has been
supporting the careers of outstanding young artists for 60 years, and the 90th
birthday of Joseph Horovitz, who was born in Vienna in 1926 and emigrated to
England aged 12.
Headed by General Director Luana DeVol, a world-renowned dramatic soprano, Opera Las Vegas is a relatively new company that presents opera with first-rate casts at the University of Las Vegas’s Judy Bayley Theater. In 2014 they presented Rossini’s The Barber of Seville and in 2015, Puccini’s Madama Butterfly. This year they offered a blazing rendition of Georges Bizet’s Carmen.
Ever since a friend was reported as having said he would like something in
return for modern-dress Shakespeare (how quaint that term seems now, as if
anyone would bat an eyelid!), namely an Elizabethan-dress staging of Look
Back in Anger, I have been curious about the possibilities of
‘down-dating’, as I suppose we might call it. Rarely, if ever, do
we see it, though.
Leading a very muscular Dutch Radio Philharmonic, Principal Conductor Markus
Stenz brilliantly delivered Alban Berg’s Wozzeck with a superb
Florian Boesch in the lead and a mesmerising Asmik Grigorian as Marie his
Edouard Lalo (1823-92) is best known today for his instrumental works: the
Symphonie espagnole (which is, despite the title, a five-movement
violin concerto), the Symphony in G Minor, and perhaps some movements from his
ballet Namouna, a scintillating work that the young Debussy adored.
There can’t be that many operas that start with an extended solo for
double bass. At Holland Park, the eerie, angular melody for lone bass player
which opens Pietro Mascagni’s Iris immediately unsettled the
relaxed mood of the summer evening.
George Souglides’ set for Will Tuckett’s new production of
Rossini’s L’italiana in Algeri at Garsington would surely
have delighted Liberace.
Calixto Bieito is always news, Carmen with a good cast is always news. So here is the news.
Distinguished theatre director Michael
Boyd’s first operatic outing was his brilliant re-invention of
Monteverdi’s L’Orfeo for the Royal Opera at the Roundhouse
in 2015, so what he did next was always going to rouse interest.
Although Bohuslav Martinů’s short operas Ariane and Alexandre bis date from 1958 and 1937 respectively, there was a distinct tint of 1920s Parisian surrealism about director Rodula Gaitanou’s double bill, as presented by the postgraduate students of the Guildhall School of Music and Drama.
The eyes of the opera world turned recently to Dresden—the city where Wagner premiered his Rienzi, Fliegende Holländer, and Tannhäuser—for an important performance of
Lohengrin. For once in Germany it was not about the staging.
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.