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Gustav Mahler and fin-de-siècle Vienna will be the focus of the Oxford Lieder Festival (13-28 October 2017), exploring his influences, contemporaries and legacy. Mahler was a dominant musical personality: composer and preeminent conductor, steeped in tradition but a champion of the new. During this Festival, his complete songs with piano will be heard, inviting a fresh look at this ’symphonic’ composer and the enduring place of song in the musical landscape.
On February 21, 2017, San Diego Opera presented Giuseppe Verdi’s last composition, Falstaff, at the Civic Theater. Although this was the second performance in the run and the 21st was a Tuesday, there were no empty seats to be seen. General Director David Bennett assembled a stellar international cast that included baritone Roberto de Candia in the title role and mezzo-soprano Marianne Cornetti singing her first Mistress Quickly.
In Neil Armfield’s new production of Die Zauberflöte at Lyric Opera of Chicago the work is performed as entertainment on a summer’s night staged by neighborhood children in a suburban setting. The action takes place in the backyard of a traditional house, talented performers collaborate with neighborhood denizens, and the concept of an onstage audience watching this play yields a fresh perspective on staging Mozart’s opera.
Patricia Racette’s Salome is an impetuous teenage princess who interrupts the royal routine on a cloudy night by demanding to see her stepfather’s famous prisoner. Racette’s interpretation makes her Salome younger than the characters portrayed by many of her famous colleagues of the past. This princess plays mental games with Jochanaan and with Herod. Later, she plays a physical game with the gruesome, natural-looking head of the prophet.
On February 17, 2017 Pacific Opera Project performed Gaetano Donizetti’s L’elisir d’amore at the Ebell Club in Los Angeles. After that night, it can be said that neither snow, nor rain, nor heat, nor gloom of night can stay this company from putting on a fine show. Earlier in the day the Los Angeles area was deluged with heavy rain that dropped up to an inch of water per hour. That evening, because of a blown transformer, there was no electricity in the Ebell Club area.
There has been much reconstruction of Marseille’s magnificent Opera Municipal since it opened in 1787. Most recently a huge fire in 1919 provoked a major, five-year renovation of the hall and stage that reopened in 1924.
For the first time in its history, this summer Garsington Opera will present four productions as well as a large community opera. 2017 also sees the arrival of the Philharmonia Orchestra for one opera production each season for the next five years.
New work by the English artist Rachel Kneebone will be exhibited at Glyndebourne Festival 2017, which opens for public booking on 5 March.
The London-based artist has created three new sculptures inspired by two of the operas being staged at the Festival this summer - Cavalli’s Hipermestra and a new opera based on Hamlet by composer Brett Dean and librettist Matthew Jocelyn.
With her irresistible cocktail of spontaneity and virtuosity, Cecilia
Bartoli is a beloved favourite of Amsterdam audiences. In triple celebratory
mode, the Italian mezzo-soprano chose Rossini’s La Cenerentola,
whose bicentenary is this year, to mark twenty years of performing at the
Concertgebouw, and her twenty-fifth performance at its Main Hall.
Matthew Rose and Gary Matthewman Winterreise: a Parallel Journey at the Wigmore Hall, a recital with extras. Schubert's winter journey reflects the poetry of Wilhelm Müller, where images act as signposts mapping the protagonist's psychological journey.
Donizetti’s Anna Bolena, composed in 1830, didn’t make it to Lisbon until 1843 when there were 14 performances at its magnificent Teatro São Carlos (opened 1793), and there were 17 more performances spread over the next two decades. The entire twentieth century saw but three (3) performances in this European capital.
It is difficult to know where to begin to praise the stunning achievement of Opera San Jose’s West Coast premiere of Silent Night.
Like Carmen, Billy Budd is an operatic personage of such breadth and depth that he becomes unique to everyone. This signals that there is no Billy Budd (or Carmen) who will satisfy everyone. And like Carmen, Billy Budd may be indestructible because the opera will always mean something to someone.
American composer John Adams turns 70 this year. By way of celebration no
less than seven concerts in this season’s NTR ZaterdagMatinee series
feature works by Adams, including this concert version of his first opera,
Nixon in China.
Despite the freshness, passion and directness, and occasional wry quirkiness, of many of the works which formed this lunchtime recital at the Wigmore Hall - given by mezzo-soprano Kathryn Rudge, pianist James Baillieu and viola player Guy Pomeroy - a shadow lingered over the quiet nostalgia and pastoral eloquence of the quintessentially ‘English’ works performed.
'Nobody does Gilbert and Sullivan anymore.’ This was the comment from many of my friends when I mentioned the revival of Mike Leigh's 2015 production of The Pirates of Penzance at English National Opera (ENO). Whilst not completely true (English Touring Opera is doing Patience next month), this reflects the way performances of G&S have rather dropped out of the mainstream. That Leigh's production takes the opera on its own terms and does not try to send it up, made it doubly welcome.
On Feb 3, 2017, Arizona Opera presented Giacomo Puccini’s dramatic opera Madama Butterfly. Sandra Lopez was the naive fifteen-year-old who falls hopelessly in love with the American Naval Officer.
In the last of my three day adventure, I headed to Vienna for the Wiener
Philharmoniker at the Musikverein (my first time!) for Mahler and Brahms.
In Amsterdam legend Janine Jansen and the seventh Principal Conductor of the
Royal Concertgebouw, Daniele Gatti, came together for their first engagement in
a ravishing performance of Berg’s Violin Concerto.
I extravagantly scheduled hearing the Berliner, Concertgebouw Orchestra, and
Wiener Philharmoniker, to hear these three top orchestra perform their series
programmes opening the New Year.
22 Mar 2009
Songs by Samuel Barber
Among the impressive contributions to the American song literature of the twentieth century are works by Samuel Barber (1910-81), whose efforts in this genre reflect his own musical training as a singer, as well as the influence of his aunt, Louise Homer, whose professional relationships put her nephew in contact with other vocalists of the day.
Among Barber’s contributions are a number of sets of songs from throughout his career, works that are heard periodically in performance and available in various recordings. This selection by Gerald Finley and Julius Drake offers a fine cross-section of Barber’s songs on a single CD and collects his set of Hermit Songs, Op. 29; Mélodies passagères, Op. 27; Three Songs, Op. 10; Dover Beach, Op. 3; and several individual songs. Lacking, of course, Knoxville 1915, Op. 24, since it was intended for soprano and orchestra (albeit performed by tenor), this recording of Barber’s song is a rich selection which captures the composer’s major efforts in the genre in interpretations by two of the finest performers of the day.
The spiritual aspects of the Hermit Songs implicit in the texts require the clear and fervent execution Finley and Drake offer. With texts from various sources, primarily translations of Medieval verse, the turns of phrases in modern English are nicely supported by Barber’s music. The plaintive quality of “The Crucifixion” reflects simultaneously the vocal idiom of an earlier time and yet the dissonant idiom that Barber used to punctuate the music contributes to the welcome complexity of the song. Julius Drake’s approach to the accompaniment of this song and the one that succeeds it in the recording, “Sea Snatch” by making the pianistic touches work well with Gerald Finley’s sensitive interpretations of the works. Such details emerge aptly in Finley’s delivery, not only in shorter settings, like “St. Ita’s Vision” (translated by Chester Kallman) but also in one of the more extended songs, “The Monk and His Cat” (translated by W. H. Auden). One of the particularly moving performances is that of “The Desire for Hermitage” (translated by Seán O’Faoláin), which, as the culmination of the cycle, serves as a kind of summary of the entire set.
The sometimes angular settings of English-language translations receipt apt settings by Barber, but his craft at composing the French artsong is apparent in the set of Mélodies passagères, which are based on verse by Rainer Maria Rilke. These sometimes enigmatic poems bear rehearing for the nuances of the texts, and Finley’s approach invites returns to the songs to capture some of the details he and Drake bring to the music. “Un cynge” (“A swan”) receives its appropriate delicacy, a quality implicit in the music and effectively rendered in this performance. The subtle accompaniment works well with Finley’s sinuous approach to the text. Yet the entire set merits attention for the well-placed details that beg for a repeated hearings not only of the music, but also this compelling performance.
In addition to these pieces, the performers include a selection of Barber’s earlier songs on this recording. Some of the music is quite familiar from vocal recitals of various performers, as is the case with “Sure on Thdsis Shining Night,” a work that receives fresh treatment from Finley and Drake. The pacing of the vocal line and accompaniment are key to the interpretation found here, with model phrasing between the strophes of the verse. Equally impressive is Barber’s early masterpiece, Dover Beach, which involves the Aronowitz Ensemble. Part of the select vocal repertoire which involves chamber music, like Schubert’s Der Hirt auf dem Felsen (“The Shepherd on the Rock”), Dover Beach retains a special place in vocal literature. The maturity that Finley brings to the work is clear from the start, and as the piece progresses, the performance demonstrates an incredible level of involvement.
In this piece and the others on the recording, Finley shows himself to be a major interpreter of Barber’s music. Just as he is impressive on stage in such a powerful role as Robert Oppenheimer in John Adams’ opera Doctor Atomic, Finley is also commanding in the more intimate solo vocal literature. This is a fine addition to recent recordings of twentieth-century song, and also an impressive contribution to the discography of Samuel Barber.
James L. Zychowicz