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Wigmore Hall has announced the 25 young singer and pianist duos from around the world who have been shortlisted for this prestigious competition, which takes place at Wigmore Hall in September with the generous support of the Kohn Foundation. Details were announced on 27 April during a recital by Milan Siljanov, who won top prize in the 2015 Competition.
Garsington Opera's thrilling new commission for the 2017 Season, Silver Birch, will feature over 180 participants from the local community aged 8-80, including students from primary and secondary schools, members of the local military community, student Foley artists under the guidance of Pinewood Studios and members of Wycombe Women’s Aid.
Opera San Jose has capped a wholly winning season with an emotionally engaging, thrillingly sung, enticingly fresh rendition of Puccini’s immortal masterpiece La bohème.
On Saturday evening April 22, 2017, San Diego Opera presented Giuseppe Verdi’s La traviata at the Civic Theater. Director Marta Domingo updated the production from the constrictions of the nineteenth century to the freedom of the nineteen twenties. Violetta’s fellow courtesans and their dates wore fascinating outfits and, at one point, danced the Charleston to what looked like a jazz combo playing Verdi’s score.
Thomas Adès’s third opera, The Exterminating Angel, is a dizzying, sometimes frightening, palimpsest of texts (literary and cinematic) and music, in which ceaseless repetitions of the past - inexact, ever varying, but inescapably compulsive - stultify the present and deny progress into the future. Paradoxically, there is endless movement within a constricting stasis. The essential elements collide in a surreal Sartrean dystopia: beasts of the earth (live sheep and a simulacra of a bear) roam, a disembodied hand floats through the air, water spouts from the floor and a burning cello provides the flames upon which to roast the sacrificial lambs. No wonder that when the elderly Doctor tries to restore order through scientific rationalism he is told, “We don't want reason! We want to get out of here!”
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.
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